4 1000+ pictures - ningapi.ning.com/.../1000pictures_all.pdf · 2017-05-26 · that are impossible...

4

-

1000+ Picturesfor Teachers to Copy

AndrewWright

q,v,f J Ik \ _ |

i '€ {,tzsLU}f

J.r,!g3

Contents and Introduction

1 How to draw 3

2 Sett ings 36

3 Topics, behaviour, notions 54

4 I l lustrated vocabulary and grammar 84

5 Pictures for composit ion 118

6 Some basic ways of using pictures inlanguage teaching 128

Further reading

Index

Many teachers recogn ise the ' t t se fu lness o f * i r t rp ledran ' ings in the i r te . rch ing . Dran ' ings have tnan" 'advantages: thev are quick to do; their content can bedetermined exactlv bv vou, the teacher; thev are easv tc)reproduce. But manv teachers think thev c.rnnot drau' lOr i f thev can clrau' the'v feel ther. have not got etrt , l tgl tt ime.

This book is based on years of enjov.rble experie'nce'gained in helping teachers to learn hon' to c-iran' tn overthirtv countr ies. I t contains a care'ful intrt t t iuct ion ttrdran ing and over one thorrsand clrarvirrgs for teachers tr-rcoPi/

Who might use this book?

The rnain users of this book u' i l l be langrrage teache'rs.Hor,r 'ever, teachers of othe'r subjccts, arrd ir-rdeecl anvone'r,r 'hose job involvt 's commttnici ' t t iort, r t ' i l l f inr l thismater ia l rc levant . I har .e met spcech t l re r , rp is t : .sociologists, vouth leaders, voga teachers as r,r 'el l asteachers of historr, , geographv anc-l ecttnomics u'ho makeuse of simple rc'pre'sc'ntat ions. With the examp)t ' : givt ' t tin this book, teachers and their stuc' lcnts ctrn drar 'r ' theirorvn pictures r,r'itl-r computer softu'are clr.rn'ing packagesas l t 'el l ;rs lnore trac' l i t ional lv on thc' boarcl, on hancloutsand in d isp lavs .

Copying the pictures

Bv copv ing I rnean, looL ing a t th r 'p ic t t r res i r t the boc tkand drarl , ing vour ()\vr1 r 'e'rsions. I also mr'an that ateacher, having bought hi-. or her o\\ 'n copv nf the book,should feel that he or she can m(rke mult iple copies ioruse nith his or her or.r 'n stt tdents. I 'ermissit tn to m;rkemult iple' copies is not gra ntecl for i tny othercircumstances except r ' r ' i th erprcss pcrmission givert b1tl.re publisher.

The organisation of the book and the selectionof language i tems

The se.lect ion, topics and larrguage i tems in this book areb.rserl on the T/rrcs/lo/rl Lct,cl , a clocume.nt producec'l bvt ire Cor-rnci l of Europe for language svl labus designers. Ihave also referrecl to the Cnrlhri l l ,gt ' Erg/ls/r Lc,r lcon.

Language is enormouslv r ich. A r,r 'orcl can have nranvmeanings depe.nding on context. I have had to besr. lcct ive. and have. ofte.n onlv been able to i l lustrate orreof se., 'e.ral possiblc. mearring:. I have rrrnit ted conceptsthat are impossible to represent pictori .r l lv ancl languageite.ms lvhich are re. lat ir .e. l t inirr. t luent, r .c. rr ' i thin stages 5or 6 of the Canrbridge English Lexicon.

Onlt ' rarclv can a picture contmunicate the samernc'aning to evervone n'ho sees i t . The role of piciures int l r i s b r t t rk i : t r ) c ( )n t r ihu tc to th t ' le , r rn ing r ' f me. rn ingerperienced bv the learner .rs prrt ot a situ.rt i trn: referredkr in a conr .e rsa t ion , i l l r rs t ra t ins r s to r ) ' ( r r as par t o f agar-ne. I t is the experience of the situation as a n holer, ' 'hich helps thc lcarne.r to bui ld up a sense of then-reaning or mcanings of thc langr.rage. (For r-nore on thetcaching of me.aninc sc.e pagc. 128).

Stereotyping

There has been no attemDt to reDrese.nt cl i f ferent racialt r p r ' * i r t t l re d r , r t r ' i t tg . i r r L l r i . t r t ' r t rk . There S,e t te r , t l i * t 'd'pot.rto' he.rcls are me.lnt to represent al l of us! The r-rse ofs te rc t r tvp ic r l , r . rc i . - r l svmbo ls has bccn re . je .c tec l asrr r-rdesirable..

Th is new ed i t ion

1000 Prc luHr,s r,orr Tr,.rcrrF-Jts r() Colv has been usc'd bvteachers in countr ies al l over the n'orl t l . Some tcacher-shave sa id tha t thev rvou lc l n ( ) t bc n ' i thou t i t l\e ' r 'e r the less , suggest ions have bc 'en mac le fo r i t si )npr ( ) \ ' cmcnt i r r t l re J ig l i t o i t l t i r r , r i t l t ' - r . r r rg i r rg L ' \Fer i rn ( 'Hof use in so lrr; lnv classrooms. ln this neu' ccl i t ior-r thereare sixteen ertra pages. Addit ions inclucle: more pages offaces ir-rclrrcl irrg hou. to look v()unger (.r lu'avs r-rseful inthese stressful t imes); ne\\ ' pJge\ i l lustrat ing tenses anrlphclnologv and nine mor€. pagcs on iclcas for making useof the pictures in t l ie book for languare te.aching. Marrvoi the incl ivi t i r"ral pictrrres have been motl i f iecl. The inclexno'"r ' incorporates Arnerican crs \r 'el l as tsr i t ish English.

Acknowledgement and thanks

I r.r'otrlcl like to thank thc. r-n.urv, r-nanv te.rchcrs rvho h.rr.epassed on to me the i r p l t ' . r tu r r ' i r t u* r r rg th is book andmacle their suggestions ior changr.s in the nerv ecl i t ion. Ipart icul.rr lr ' \ \ 'alr t t() thank I 'aula Saudhan'r .rncl Jul iaDlrcl.rs, foi p.rssing on their experience to nte and forr-nakir-rg so manv helpir-rI snggestions.

:

!}

!

=

+=-

+-

a

a

a

>

F:

-c

!-

.l_

1,36

137

L-.

->

:

:

l-

l--

t-

-!-

E

.>>.>>

L

tsz

THow to draw

In the first section I have reproduced the wayin which I help people to draw more effectively.The level is higher than you need for copyingthe drawings in this book. However, I havedecided to put i t at the beginning of the bookbecause you need basic help even for copying.

Essent ial ly, in order to copy ( i .e. withoutphotocopying!) you must:1 judge proportions (is a line is longer or shorter

than another, or a shape thicker or thinner);2 judge the angle of the lines (whether they are

l ines or the edges of shapes).These are the main things. However, i t wi l la lso help you to study how I draw sol id people.When you learn my approach you will be ableto copy my sol id people much more easi ly.Similarly with the settings: when you learnhow I have avoided using perspect ive, youwil l be able to copy them much more easi ly.

So, please, even i f you are only going to copythe pictures in this book (and not produce yourown), do look through this first section.Thanks.

Materials and techniquesCard or paper

Teachers' flash cards should certainly be oncard and not paper. Card lasts longer and iseasier to handle. For pupi ls i t may be as cheapto use duplicated sheets rather than card. InBritain it is possible to get cheap or free offcutsof paper and card from printing houses.

Adhesives

Sometimes you may want to stick thin paper tocard. You can:I use a rubber baseci glue which does not

wrinkle the paper. Professional designers doth is .

2 use a paste. If you use a paste put it on thethin paper and leave the paper to expand forsome time before putting it onto the card.

Photocopying

1 Don't go to the edge of your paper.2 Don't use larger areas of black than your

machine can reproduce.3 I f you st ick smal ler pieces of paper down so

that the levels are di f ferent put typist 's whiteopaque along the edges to remove the shad-owed l ine .

Grids

To give a sense of organisation to your text andpictures arrange them within a frame and aligntheir edges. A frame ( in Bri t ish Engl ish - a'gr id ') may be made of one, two or even moreco lumns.

Tracing

If your top piece of paper is too thick for you tosee the image clear ly put them both against awindow pane and copy i t l ike that.

How big?

Letters should be about two cms high. Butguiding rules like this are not very useful. Try asample - see what it looks like from the back ofthe class.

Colour

I t is so tempi ing to use lots of br ight colours inorder to please the students. Much better tochoose colours for other purposes:1 to make an object more recognisable if the

shape is rather ordinary, for example, anorange;

2 to direct attention to something, particularlyif it is small within a picture, for example,one person giving another a present. Thepeople could be drawn in black line and thepresent in a colour;

3 to express feelings and to make the picturelook nice!

--_

=

"!

= - J

-- --t

E-- - l

L-.

-A

,4t

How to draw

stickpeople

Can you see the difference? Is A wider than B? Is F longer than D?

F

If you think A is wider and D is longer then you can judge angles and proportionsand that is all you need for copying the drawings in this book. Indeed, it is the basicskill you need for doing objective drawings of the highest order.

Amazing facts about the human bodyThe head and body are equal in length to the length of the legs.The arms are as long as the body.

More amazing facts

elbows are halfwaydown the arms andpoint backwards

knees are halfwaydown the legs andpoint forwards

,-<.

--.l:i

-1_

-

-

-F-:

+.-

,a

f

e-

D

:

3a

F - -tR ilr,irl,o"',{ f no hips, no hands

L\[m.mr'.'il$:s't'"=t- -

+

e

=1-

l - _

1

I

;a- _

--

_t-

<

e

i?

F

E

E

1tr,#'!)*/, rL Al

I wish I c,oularun tike You.l

' ^ ,nS

,4T:?Tf,(ton

It ti"ut#l"i?"etutio ""?. l

r rU^-,o(o\' '

=-

d

z

=

,(g lf you or youtftiend, ak achn! ouV a posrlton, thenclo se the whdovts O,td loch- the doors in Cate Wu afelaoh.e d bpon aad Jadged lo bec.azy!

Here are some actions to copy. Study the Copy the angles exactly as you see themangles of the body, then the arms and here and you will then have the samelegs. Judge the angles of each bit by dynamic action. And you CAN judgecomparing it with either a vertical or angles! You did it on page 4lIf you[et ithorizontal line. *ro.rg, do it again!

6* rA::") sp

*" ot* '^ ( r ' - ( o d

"l) *"*'?:,^-; Iild" I'ur?)eett

'-^,^ i. dr\c Y-- v

v!j.Q

{de "'.. .y6QLf "

on3\e o^

^ Urr'i,t^',,.4\c D('- r.rgrrrccsl-i ""* I^ahur-J irv\t -oi,'no.l"n*"*lo ̂ *' /

5od9'

C'

fiG

^

U--I

r- -t -

ID

rt

How to draw

stickpeople

We can only interpret a stickperson'sactions if he or she has the same essentialfeatures of a'real' person; so you mustbase your drawings on how people lookand move. The 'real'people you copycould be you (yourself, acting out the

position and copying each bit, startingwith the body) or a friend or someone ina photo.Most artists study a photograph or amodel if they are drawing something forthe first time.

Crt

Nd:ff"i:'llj*'l

"tffiT{"o&w.''';'

How to draw

stickpeople

Copy these drawings. Star t wi th the body.

Make drawings from these photographs, st ick by st ick. Start with the body.

Compare the angles with vert ical and horizontal l ines.

;v-

t

-+

>-

= -

ts-

+-

I

=

=

=

l--

>

=

>

=

>

l

F

]

1

!-

l-

t-'

l*

lt

L

t-

L

L

:

Start u' i th the chair, then do the body.

How to draw

stickpeople

Draw furnifure, cycles first \innc - \ess

uo,.=yJ*;4*#'o)r\A\v -

='{^ro- R-l)

Characters

f1n

*

t

*

+

r-

=,

a

=

:

Copy the angles exactly!

Slighb charyes oF angle illus1raLe diFFerznb waqs oF wolkingar',il ,runniXg, and Jo,. ev"n epr.sent dif?err^L (*t, fon-s.-

Balance Tnis batle? dancer is fuungove( Decause her we$ht

5he co,"lLprl[ trp

fue box (,is no{over her t*f

How to draw

boxpeople+ €ts

:

, 1E-

\ <L

L -

L. .. -E- . -

t -

" -E _

-

r-

E.

E

e

e-

i5*

=-

=-

.t-L

]

l-_

l-

t--

!*

]-

t.L

LL

LL

bE

Box people are useful because they havecharacter and can be seen more easily thanst ick people in a compl icated p ic ture.

Tne vifat acfion o{ the borperson ts achtcved exac?ly liusL1naY o( q Sl'icKpe rson. llo,rtever, sf*r( wilh the body .Wha( sorL o( bod'y d,o yan want lo give hru or her?Choose one !

I[U^VAADraw (ne bod.V hrsf .

'lhen drcta shcRgcrson lrhbs in t-he

qcdon you wanl . prau Lhe lr'nbs kom lhe corners o( lhe box.

boxpeople!

I

-.

Horv to draw

-

-

-

lrlOW draw tn ltneS r?presenting fhe oth<r sdie o( fhe lrrybs.These llnes Shouttd no? tuifare srabf Ie folds o{ a[oth, el.c.praw rh fhe teeC aslria.ngles.NriY fr,q fo draut real shoesl[( is fu aifhcnl? a,nd no( uorth fhe eftort .

Draur ln fhe heds and. hands.

Not.t fhe yrtre(As tlones o.nd, (ex{wres co.ngo rh

-I

>_--.

=

I-

>:

5

e-

=-

*

E

L-

F

F-

F

+

F*

= -

l'-:

=

=

F

e

a-

F*

t-

t-

E-

E

E

2,

How to draw

boxpeople

Here areou7 h'neao( oVher

urz.e rnor.e boxpeople aU d'raon naboe. Nofe ho.l l ines dis oppearlinrbs.

the sa^e sfaSes asfun|ta bodrcs

{Wosl o( th" drausings in fhis booQ-arehry are fias? 7o do. l*owever, Yo6 ca^

by lhe ftrhniqnz )i,ren he r< .

2 2

\ \1

oF sfr'c trp e c>ple beca,ns.maUe a^q o( t!'terq solrd

10

-4

- How to draw

faces

-4

'1

,<1

4

4

=

I

.-:

- . 1

*ny rough arcli r regvt lar and

e wil l do tor alace, parficularlybumpy !

if ir is

P,Srn

3 in fhe eyes av$l nose firs( : thrU 4on'( Shou,r QXPrc-et|on inses can beg rn fo sho"r ina{iu id.uqbrn plz dra ut t ng . ftooev er , no

lon have tltree lines le{t,6na for the 7y16wth cnd, fi"Jo -for the eyebroc.ts .Nirh thes? Ilnes on ev(ra.ord.t'n^rU nuMber d ex?resrIons cqn berndde. tbueler, c,s tn li(e the h,crLl cypresrions fou r.o[e uitl

Y€rvratn arnbjkok-r . Facio,l expresrions con(fi'bwfe fo ye4rltnJ

Yo g e fhe " with o the r b o d y h rq u,u, vt ic ah oa, r e r b a.l h ;,1 1v1 u 4 1 Lo,h on,

Sett i rg and, fhe pefcelver 's axpe.c.(df1 'ons,oYe.

lV is alrnos( rn^possib le Yo drad ovr eypresion{ess fac< |rq if !

High eyebrowsshow surprise.

Low eyebrowsshow concentration.

Angled eyebrowsshow pain.

' ) ' ' ( '

.- q

'

\ 'J

-

' ( '

-r

\

J

1 1

How to draw

faces

:

>-

]

:

= -

=

t - _

=

=

>

L

t-

=

L

=

1

=

=

] _

-

=-

l-

=

+=+

>-

r

>

E

>

=

Z

Qefting sadder !

The eyebrows risein the centre. Theremust be a gapbetween them or hewil l look toodetermined. Themouth turns down.

The eyebrows arenow s l ight lyconcave - this givesthat look of pa in.The mouth is nowlonger and weakerand further down.

Eyebrows sti l l moreconcave and furtherapar t . The mouth,down-tumed, isweakly down moreon one s ide.

Now the head isback. The browsare nearer theeyes due to theconcentrationof the outburst .The mouth mustturn down.

qettt'^g morc shrTrised,

Arching eyebrows.Sma l lmou th , i n t h i scase very sl ightlyupwards, giving ahint o f p leasure.

High eyebrows, nottoo c lose together .Slightly larger eyes.Mouth shows hintof pleasure in thesurnr ise.

High eyebrows.Small eyes, ratherintense.

Surprised horrorBulging eyes.Tiny mouth.

. / \'L'/ \' \ '

J

/ " \

; ( ;

7s"t

-\

lt^ A

' ) '

/l 1

' ( o

A

\ .

Jo

^ ^

o\oJ

o

72

-'-;'*)

Florv to drawI

faces

=

-

-

-,

A ^tt r '(

\./

QeEhng hoppier ail the ?i,ye!

The eyebrows r i seand curve.The mou th beg insto curve upwards.

The evcb rows a reno t on l v h i gh androunded but arenow fu r the r apa r t .The mouth, o fcourse, is now afu l ler smi le .

The d is tancebetween theeyebrows is soimpor tan t f o r t ha ts imp le open sm i l e

Now the head goesback ( vou show th i sby p lac ing a l l thefeatures higher onthe face) . The eyesclose. The mouthopens .

Qettng qrirnner

This face issurpr ised, a lmostsad! The eyebrowsare rather high. Themouth looks a l i t t leweak - perhapsbecause it is ratherlow .

The eyebrows arenow nearer to theeyes and nearer tothe centre. Themouth is bunchedand a l i t t le nearerthe nose.

The eyebrows nowtouch the eyes. Theynearly meet and theyt ip downwardstowards the centre.

One eyebrow restson the eye: theother has f lownupwards. Thereis a compressedfold of skinbetween theeyebrows. Notethe corner of themouth is dou, t t .

^ ^

' \ '

Jv

tsa

- 5

a t .

b

-L- -y^,

13

-t-=

- <

E- ,<

F

-€* :

<

=-:

+:

ts

P

e

e

e-

i+-

e

e-

.:-=

t--

_

z-

+-

e--

=

a-

*-

F-

I!'-:

F

t-:

=-

>'.

E

z,

How to draw

faces

The secreg o( loo4ctrtg younger and, youngerfDraw Arc {ea(ures sfraller and lower.

Fron tull tace lo Profile

l-oofung sideways

a

' \ '

--

' ) '

Vp ana dowt

,7\.

)

,-

74

How to draw

faces

,,1-;

.J

-l

-l

2t

-4

=

1_

1_

-1

_1_

a

--JL

-:5

.*

-=

+

_*

-<

---

_.{

,,,,+

-*

-4

..-

\.'

)-

agonised angry

7".uo)o

anxtous arrogant

bitter

7blissful bored cautious

- ) -

concentrating confident

aLa\-

cold

lr$

4F,

curious

T-

determined disappointed disapproving disgusted

1 5

: - -

I

>

t-

- -

- ,

t^-

F-

F.:

=

F .

F-

F

--

L

lr-

=-=

EL--.

-

--

-

F-

-

--

>-

l-

ll.-.

t-

=-

t-

>

E

How to draw

faces

7',\\-aa

dismayed drunk

gecstatic enraged

envious

v9,'

exasperated exhausted frightened

frustrated hangover

!PF^\.horrified

60

hot

'./ \\

., \-

:

hurt hysterical indifferent innocent

T6

-4

-- How to draw-:. faces

*_

-

*

=

-_

=

:

:

=

-dE

:

--

[-

=

-

4

=

_-{

-a

4

4

t

interested

; \ \Ez'YF,

jealous kind lonely

lovestruck

:smischievous miserable mistrustful

obstinate optimistic perplexed prudish

rude sly susPrclous thoughtful

t 7

F-

L-,=How to draw

faces

+

=

>

=

>-

>

--

=

-:

*

e

+--

+--

+-

+-

G

*_

=-

*

F.

L

t:

How to make more individual faces

Dlfteren( 0ttes ,cloEhes,hai{ maRe all thedikftnce !

uu(' oO

L9

oa

r-tawOeE*tvl?fi,t

foU LlYt

j,=( = l

fft/

1 8

4

4,

zj

_-

-* How to draw

caricatures

A real test of a caricature is i f vou canredraw it from memory. For people withpoor v isual memor ies th is means beingable to remember the appearance of thecar icature in words.

Try i t with the caricatures drawn above.Look at them for a few moments, describethem to yourself, and then, rememberingthis verbal descript ion, try to draw themfrom memory.

-

-

-

-1

=

a

-

=

.:

1

-4

a

-

a

Essential ly caricature means exaggeration.

I f someone has a squar ish heacl i t is rnadesquare . I f he has a l ong ish po in ted nose i tis drart 'n'u'ery long ancl r 'ery pointed.Posi t ion c . f features: i i the. c .ves are near thetop of the heard the.v are dr . rwn r i f thc. top ofthe head .

I 9

How to draw

caricatures

Itake use of s.hapes yd^ @'1 gwe ^ wavd 1o'.ha1 ar< easitr to renember.

l-l \00NV DD)>XBu^ld wp yM canLc,hres out of hese b*s.

+

L

=

= -

=-

=

t-

!:-

>

F

>

--

----

--

--

-

t--

-

b-

e-L_

E-

1 -

l . _

20

--

T T . I-- I low to oraw

--4

' :

4

---=

1

-

-:

-* :

- -

- - a

- j

= - {

-:

-l

.:

carlcatures

Pea( headSmaf l eyebrowsbig eyeslonq noseSmall mouAltbig pear bod'ySqua(e sh.r'rE

t1nin legshigh heels

sitting/eating

picking

,,F(\'

seeing ghosts

short hairangular heaabig ea.5sly sm ileqqare body

fighting

27

t--

F

3 =

F-

F-.

-F =

= , -

F:

|r-:

F

F

=

F

F

F

F

F

F--

=-

=-

F-

F_

F-

F-=

>

>-

>-

F-

F-

>-

F

>

7

How to draw

carlcatures

$f$'l €d$3

s\t$\SgraSNiE€s.aslPs

l - { -

-c^ tS

* !r,"H\ +Q rs.c- - Q,

- , i \ -

+. iShr .s \r

ex$

( 4 \q.i \

Psis*tS{+SN Et ^ t ^ \

R u€uS::ros

(

c(${

\U

\ - \!E rFI}N-R$B'

)

{si . t *\i.E)rc \P q83

Vt

rsPFg

l r

\ v lr , 4 ' s' - SL . _-s

i$- . - ' -

Qs 5

/'$

\Js(-t.T

N.ta

s\} US.s\4 !.)

\r.*\' \<IrSsiq) l.

fids{

\sv)t^ qJ.

"St.,aS J^

t r"i

E-

l.E\l '=ll c)/ l r

1"9| -r,.t

\.-?E#

$\

€t$$sxsSgsls

.R : $sHfiAb

( o

rN_)

\'--ar'/'lt

(

i')

on)o/

22

How to draw

caricatures

--4

,J

.1

-1

-J

:-

.:

:

., .l

- - a

. :

.:

'a

.:Z J

How to draw

carlcatures

. A

--4

the students decide where the schools.hospital, etc. should be.

How to draw

SCCNCS

Your characters must live somewhere.There must be a context for things tohappen in. Here is a map. Copy it and let

liil:

' -

25

-} :

<> ' =

--

-

-

I

-

r..€

>-

I

L

l -

]_-

L

L

L_

f - _

L-

t - :

-

-

How to draw

fantasy creatures

26

/

-1

:

animals and obiectsHow to draw

If you want to draw from a real object or aphotograph of i t , there are, basical ly, twothings to think of: first of all, theproport ions of the basic shape(s) andsecondly the angles of the edges of theshape.

Aasi shwe of ob)eclt

-

lf you wavt( to raake a drauttg ol- a car, fi* of ^ll f+ ttnto a ve^j basic shape t"kei rtcrartgto'.qek ewzcntVb-orre.t!tsk too 1"iZ Mak< t shivt*ter I tsk"too;ltn? tla*1 E f"XutTlacx ore tlp otttg +* W6;t4s fD bnsvev 0t fl^ts stage .

Wh:er\ yau have [ot tl*. popotior't ol $e nMtA rettanqle arred.krok (or inpdtTr;t nternal shapes aM gek dte a,ngli: correct.

Now yaa have qov the ,,..aLr. popa/nov-ts anrJ shapes correotyot u,^ ad.d t'hc few wselhd deJaiJr,^JurLh wil'l on(trr {o thevtewQx #rat

't is 6 cdt.

- t

. :

. :

--

^*

-4

-4

4

27

How to draw

animals and obiects

Here are examplesof how to f ind basicshapes in a variety ofcreatures.

Once you have th isbasic shape you canput in a few importantcurves and detai ls.

:

: *

-

. : -

-

---

i--

: *

:--

t - =

-

:

:

_ -

- t-

_-

-

F

_ -

:

_-

_F-

_ t--

_ f

_-

_ -

_-

_ i -=

-:

find a rcc(angk uhtch errclosesthe nwn Shape "( the qntrnal o,aQlect. Qet the proporfions o{the ftc(atgle corfect and. qouha(e'eptkred.' iE !

Mob, if is tnnch easter bjndgethe gfoporftons af a reol'an7tetlp.n o{ ^ cfcl< o{ oval .

Trq {ofina 4 re{al\gle{or l6is

28

S he.ep

-1

How to draw

animals and objects

There are many animals and objects drawnin th i s book wh ich vou may w ish to copy .

On these fr^to pages (zq-so) youcan .fee hou I maae fun fr'noldrawngs and hou t1ou Can bpqther,'t. Above all,mahe -sur< /on

get the propofiionc o{- th<Area"s, ltnssand" a.agfr5 r$hvf

-i

--.€

-1

4

J

J

J

.*

1

-e

-

-t

a

29

L-__

How to draw :

-:

.:--..-

F _

_:* -

-|-..

_|

-}

_t-

_}-

_:-_

_t-.

_l

_t--

animals and obj ects

_:--

----

_--

l._

L-.._

_-:

L,

_ F -

_!-

_ L - _

_L-_

-r:

_|.--

30

-, scenes and objectsand avoid perspective

ts-

How to draw

-a

aa

a

!

a

j

I

!

:

:

:

!

. /

Avoid a l l perspect ive draw, ing i f ; r t a l lp - ross ib le . D raw bu i l d ings and s im i l a rob jects face-on rather than going away komyou. I t is near lv a lways poss ib le ! Cornparethe drawings below. On the le f t are sometypica l a t tempts to c l raw perspect ive. Onthe r ight is the easv and ef fect ive so lut ion.

Here are two more. There are many morein the section on sett ings.

On the r ight near ly a l l the l ines of thefurn i ture and the bui ld ings are e i therver t ica l or hor izonta l . A lso note that thechairs, the table and the people's feet areon the ground l ine.

a

' :

!

:

' :

I

X

qR@@€re

\.

a 1J I

How to draw

Of course, when you draw something'f laton', without perspective, you must st i l lmake decisions. You must decide whichview to take. Some objects are easier torecognise from the front, some from thes ide .

scenes and objects

c -

.-. -

:*

_=-

l-

L-

-j-

-

:-

:-

:--

--

Televisions are most easily recognisedfrom the front.

Chairs are most easily recognised from thes ide .

::

_L-

\-

_-L-

l--

L-

<t.-

-L.<

_t--

j--

trom y!1e lront

ffiM#;'3-ftowt ftle sidg

(""'ilbor - us)l-llLllvr|>It

fronrLv

l c o c e o l

| -=--rI

tl__ltlr----r I

Bre l l

Stde\ l

Ht__l

fop.t

siaeIv

-- : -----*-+- -

: - - - : :-:-ts: : :T@il'

J L

How to draw

F+

'1,

special effects--

d"F=f,?

\r--

5a

A hI ^ . ^

t t ( a -

> ' -r.7/'' 2.-1-) )- - ) -- z - (

- - l t t /

ln--l{lr,

*

1

+

-_-

4

+

z

E

*,

--

{

shaking

, ) . 1

How to draw

special effects

r /. , \ ' l , /

cX>--->

-q_

--G D_:=

\.

)+f -+ r,oce.e

tr€obnrnan ond uorvra^ go l" theSreen7 roe. *, fu,t sort4< kn,fQnd, >< (hf rt

: -

<

4

L -

I

L -. 1

= -

=

L

=

1

]--,

l

]

1--

l :

5=

:-

=-

:-

:

1-

!=

-l-

L__

j -

-!.-

J-

-!-

l-

-}

!

*LLZZ

Do

0Ic?o

O09,o

34

-t-t-

-

-4

' l ined{iYle

',.-,,611"1

"PY'1";r l lYY l /- Yo{'

< lo\rtbit*"^n"r!f*;t^r

How to design

handouts, posters, displaysj

--tC

4

,,-,

-"=

_4

t i f te

A

nrts,1

'^v h?*tn"

\!)'ij'r*r\o*v'

vYt9,Se{9'"*L" r o f ' /

- ,a'

Trhe

f-le;F?I--,;flEEHcor

v-

'to'4u"r'fi?u'uo^|o,tXlinl?::6ort,lrr'etw'all6res'

o l e 'Y

r*o,n^T#fnriq',fnti'-P' ' ' ,np rI tneo - ,a6'born.t '

f '^t^t^W a t r . Y

fi:1

'i,^,*

,Pl^" r ,nyle(s lL " ns,rc \v r r5 t'cot^,i^rt.rgo.t ') ,

nrt. lvr '^" , t kvr ' . -x k

l ,T ' ' , , in rn f

5'9lucrotf.4.gh'^*1o T

, lin(syticlucrot,t l ' L v b L , " L n ( ^ h1.gh'^*1o \yro"J"f 1 ' ( -

Tttle

hr^?e*_?r"*

@Y

-.G

4

-..4E

+

+

=

*_

=

-t

-

--

r;6ffiY,"

A Traditional page design. Is it boring or dignified? It depends what it's forl

B The 'ragged' right hand edge of text adds informality and interest.

C Centralising (so easy with word processors)is attractive.

D Two-column designs are ordered but flexible to different elements.

E Displays can be as ordered or as chaotic as you wish.

F Underlying two column design gives order to an informal display.

G An example of really beginning to plav with shapes and composition.Suitable perhaps for a poster.

Tr l ' lc

--vIP" ' I

C

1if{e z---

il@L_itrt-"- I

T\J/

Cffiffi[I

35

2 Settings

When people say they cannot draw they oftenmean they cannot draw things in perspect ive.In fact, perspect ive ( in the sense of paral lellines converging to a vanishing point) is usually

unnecessary! Indeed, i t is of ten clearer not to

use perspect ive and i t is certainly much faster-

On page 37 I have drawn one of the pictures

of the street in perspective in order to

demonstrate that there is no particular gain.If you draw flatly across the picture all the

l ines on bui ldings wi l l be ei ther vert ical or

horizontal . But avoid perspect ive even in the

case of objects l ike cars or even a brush! (See

page 31 .

Thick and thin lines

In a scene there are a lot of l ines: this can be

confusing for the student. Of course, you can

use colour to identify one subiect from another.

I f you cannot use colour, as I cannot in this

book, you must use di f ferent thicknesses of

line. For example, draw all the stickpeople with

a thick line and the background with a thin line.

Another way of separating people away from

the background is to draw them as solid people

or boxmen. In the fol lowing sect ion I have

used both st ickpeople and boxpeople to show

what the effect looks l ike.Lines which are sketchy and which do not

yoin up with other l ines of the same object also

cause confusion.Al l these points relate to the'gestal t ' theory

of v isual percept ion, which argues that we

gather together visual information we think

belongs together.For uses of settings by language teachers,

see Section 6, pages 128-736.

L

\--

L -

!

I-

>

L-

:.

F-

F_

- -

:-

:-

36

wnr4

I,

:

StreetSettings

Ea

-z

+

Ji

,4

-*

1

-

t

li

-&

JC

-5

-*

=

-at

+

4J /

t

_ \ . .

4l <

4

-

_ 1 4

1

>-

l.-€

_-

f:

t-

-

:..-

l=

: -

= -

F

L ,

_L-

L

L.

r--

L-

L-

L -

lE-

L-

t--

Settings

Park and garden

gEE

38

Terrace and countryside

?_

--=

.-:

, +

*

*,4

' :

- " -

- l

- 1

- . {

- t

- d l

!

'-.:

a

-,1

4

a

Settings

<=-

7

zz

L,

39

Beach and mountains :

:-

:

-

-

i

Settings! -

-*

I

i-- :

:

E-

40

Bus station and bus

--1

-

' :

-=

--=

:

:

.-

::"

,-

4

a

4

:

t

z

t

a

a

Sett ings

47

Settings

Train and aeroplane

:

L . -

:-=

=-

= -

L

L = .

L : -

]

L

L- -

= -

r--

L *

-

>--

L -

L-

L-:

L--

L--

L-

L-,

L_,

t--

l - -

To fu effecllre this dra,sing rnwsafiil (he blarp5oard I

B domo%aN

42

Settings

Kitchen and bathroom

'--

- 4

.*

-

.._t

a

:

.a

a

!-

t

+J

-!

I

= :-1.

-

..<.

5=

!:

5:

=

>-

= -

l - -

L. _

=

>

l---

L

L=

f---

l :

l-

L---

L -

L,

L

L

Dining roomSettings

f'-=

-

-,-

=-

naf f v

@4,v-=anlv

q^;Frrurug

-r\ [lvr l t

@h'

e stitl<s {Ypand,theC-Ombmtirg vi<ws 4nc

44

Sitting room and bedroom

---

-

.:

- :

- . :

. /

./

, -

,.-/

a

z

/,

1

4

Settings

t r E E ,u s o o

o o . o6 e D t

a g E 9

45

Settings :

:

:--

--

--

= -

=

=

=

L-

=-

]-

L-

f-

r--

L*

f--

L*

L-

L--

L-

L

Baker and superrnarket

46

Restaurant and caf6

Ft

-_

-=

-

:

'-

--

=

=

=

"=

:

:

=

=

-

a

=

- :

-

-/

/

1

:

-

a

J

J

f

Settings

t a+ /

Travel agent and hotel__<.

=

>

-.]_:-

|*'---=.-=--.

1.---

=..-

-

JL--

=

= .

Ir!

--.-

t-

L

iL-

=-_

L -

f,-

!-

---

f--

L--

L-

L-

L-

L--

L_

L-

L*

Settings

,18

-

:_

:

_

:

=

5

a

a

a

Settings

Post officebooth

and telephone

49

Settings

-!-"=-

<: - -

-

:---.

:.-

:.,-.

=:

=.-

=--"-

-

----

----

i--

--

---

--.

--

-

--=

L.-

---

L-

b:

L:

b-

b-=

L---

,E-

t-

t-

Hospital and doctor'swaiting room

RECEPTnON

50

Classroom and police station

F'z

1

'-

=

-=

a

:

:

'=

u_

-li

-

a

a

a

4

4

1

Settings

51

Settings

Library and museum--__-,>F.

l-

a---=.

L<

>._

*--:

t-

L_

L-

L.

L*

t:

L-

E - -

>.-

L-_

L-=

>-

>--

--

L-

tr--

t--

E-

L-

E:

L--

L-_

-

L--:

Art gallery and cinema

-,-.-

-

-:

-

:

:

-1

'::

- :

-

-

--

-:

-

-_

:

'=

- 1

4

a

a

t

'a

I

-

-

I

Settings

53

3 Topics,behaviout, notions

How to draw

In order to copy these drawings you will haveto make judgements about angles and pro-portions. Have you looked at Section l How todraw?

Subiects covered

The subjects are taken from the Council ofEurope Threshold Leuel contents list. I haveomitted Education - you will find some pictorialreference in Section 2. Household articles areunder 'House and home'.

Ambiguity

These pictures are not expected to il lustrateunambiguously the word you are trying to teach(see introduct ion).

Note

Most of the settings on page 23 need to besimplified if you copy them out yourself. Irecommend you use photocopies of this pageif you can.

t

L -

= -

E -

}--

a-

1-:

L=

>--

D--

L

>i-

.ti-

t . -

t--

t-

E:

t-

t-

b-=

b--

b--

b-

L.-

F--

b:

F

b-:

b-

b-

b-

54

'_--1

E- Topics, behaviour, notions-1' Personal identification-'- (appearance)

-

'-:

-=

al

6_

e

I

n

-

-

feaYqres hghV anaIower 61e,s4

young (child)

fea,(ures Sfronqandfugher , morz naf

young (adult)

sl igh( {ru"rn, pLr^pi ;h tn r lesc ha i r

middle aged

A t ' n c h e e k s , ( h , nh L t ( | l t n < S

old

short thin

strong straight stooped

ebroad-facedmoustache

thin-facedbeard

"ffi;(,,01

UN'fringe/ponytail plait

dark-hairedstraight

fair-hairedwavy

bald dark-hairedcurly

55

Topics, behaviour, notions L-

L

-

l - _

L - -

!-

!--

F

l-

:-

:-

L-

L-_

L

L

:

:._

--

:--

:--

=

-

--

--

:-

-

=*

-

-

:

>

L

Personal identification(appearance)

{eafutes looo d,ov>n onAe head , head larqe(etakd. lo the bod.t1,

My snai l .

very young

sho^ldeGlarg)er,Ctt tn

slirtt

young

{at chth,fattersf'oma.c\,thiclcerandSlryhrlqbo;ealegs.

middle-aged

very young young

middle-aged

headsbouted

tn,^>ed, bod,",boed lejs."

old

headhPngh? anat'. well lorosara

on thebooeAchesl .

old

56

Topics, behaviour, notions

. J

"1

t

!=- d _

=:

a

1

/

a

F-,

.'

2

*_

n_

Personal identification(family rela tionships)

l oHN BROWN MARY BROWN(1.e20-1.970) (b. 1e25)

grand father grandmother

C E O R G E B R O W N BARBARA BROWN HAROLD CREEN(19s0-1990) jANET GREEN(b. leso) ANDREry BROWN (b. 1960)

(b. 1952)R A C H E L B R O W N(b. 1e65)

unc le father mother a u n t

@uncle aunt

JOHN BROWN PE ' IER BROWN(b.1e83) (1984-198s)

NANCY BROWN( b . 1 e 8 1 )

E L I Z A B E T H C R E E N(b. 1e78)

PETER GREEN(b. 1e83)

@

Ibro ther

@C O U S I N cous ln

(b. 1e60)

57

Topics, behaviour, notionsL

L

L.-

L==:

+

!-

lr-

L--

L,-

>-

Personal identification(professions/occupations)

L=-

:-

-L.--

l-

l-

l!-

:=

L.-

L._

E-

l--=

l--

b-

l - - -

7 - --

architect ar t is t baker businessman /woman

dbutcher

chemist(druggist - US) doctor

driver

4ql factory worker farmer fireman

footballer(soccer player - US) Sreengrocer grocer

BfTl€C

&l o lner

l abou re r m e c h a n i c mi lkman mrner

58

F-

-=

.-


P ersonal identification(profes sions/occupations)

, - J

-.J

I

,A

:

-'a-

-

-

-

!

music ian nurse office worker photographer

p ian i s t p i lo t policemin po l icewoman

postman(mailman - US)

frJniltEItt'|lqtshop ass is tant so ld ier

R t-=-F)

Fseaman

street cleaner

O + '

A ,I

teacher typ is tiloyedunempl

wai te r wrr ter yoga teacher

59


Flouse and home(rooms etc. )

<L

L-

-A

j -

:--

l\-

-.-

-<

f

-.-

---first flclor

(second f loor - 115)

ground floor(f irst f loor - U5)

a--

L-

tr--

.t--

tf-

ta-

F.

-

a-

b-

h-

ruLI

tlru

detached house bungalow"-FEg

cottagesemi-detached

house

at t i c bcdro tf l

a t t ic s i t t ing roonr

bathroonr

s l t t r ng roon l d in ing room

+

D E ] C ]t ru r lNt r lDouc l[ 1 t r l r Jr ]n t ]

F t / F r F

caravan (trai ler - US)

ll

nntrroWnm

Nflat

us)(apartment - terraced house tent

60

ts-

-- Topics, behaviour, notions-- House and home"- (furniture and amenit ies)

*

-11

- "

T

-

-

4

armcha i r bath blanket

bookshelves c h a i r chest of drawers

o o

o o

o

clock

\- ,

coathooks compu te r cooker (stove - US)

o l o

cupboard

desk d ishwasher dress ing tab leelectric firc(electr ic heater - US)

hand basin

t :C r

. f os.\irot

l l r r t l l

llltlltl"^ ;

-^|lld w a

t t l' l l

;;

')11l

col lamp mtrTor

6 1

Topics, notionsbehaviour,1-

t

-L -

L.-

a._-

House and home(furniture and amenities)

1

1

t-..-

t-=-

1-

a.

l - .

L , _

L

--

t---

:--

-.r-=

L-

!-

L,€

L-

=:

=-

=--

>

-

picture pi l lowradiator

(central heating)pot ted p lants

record player refr igerator settee/couch

shower

switch tab ie t ab le c lo th

(B

trlc!ErEEBEIEIGIEI @EI

te lephone

to i le t /W C wardrobe w a s h i n g m a c h i n e

ooo6

o

te lev is rc ln

House and home(household articles and tools)

tsz

' =

-=

.":

' =

--

--


. -

-4

d

.J

-

-

a

{

bowl brush and pan cup and saucer fork

hammer

"A4r(\^.

(>t

knifeiron ket t le

mrxer pan plate

opliers

S C I S S O T S screwdriver

spanner(wrench - US)

spoon teapottorch(f lashlight - US)

trl c:vacuum cleaner

63

Topics, behaviour, notionsL -

:

I-Reguons

t--=

]-

= :

1-

l-*

l--

>_L-

=:

L=

:-

-

}-

-

-

lr-

:_

a

>

L

L-

L,-

=:

=:

l-

!--

L-

r€

factory/rndustrial area

n00n

farm/farming area

flat countryf ields

"#,,.,,-,,y,r lvermourrtainis land

:*-t

seaside #tloDI

vil lage

o1+

--

-_ Topics, behaviour, notions

-,. Animals

_-4

=

'-

,-

ba t bea r bird

b i rd butterfly camel

cock(ere l ) crab

crocodi le deer

e lephant f ish

-1

65


Animals: :

:

:

5 -

>l!-

L

l L -

L-

L:

r-_

>-*

t--

E-

-

E-

F--

F_

E-

l--

D<

t--

f-

] -

^

gi raf fe goat goose hedgehog

hen/chick horse kangaroo

A

monkey n 1 gf ^a)

a\

mouse

rabbi t

I\

sheep snakesh.rrk

f i o p r" b - ' tortoise/turtle

jv--

whalc'swan

66

Topics, behaviour, notionsT-rl 1rLants

---

.:

- :

- '

'

-

:

a

-

4

=

a

I

t

Ii

I

branch

i l/

q4

//^

V\J,,\ / /u- us)

\i;/uVnX/;'rnX.-hiif,itigrass

\(/,

*\l/h,\U(z-.--m.trshhedge

c i rn ,s . rn themum

67


Free time and entertainment

.-

t_

baseba l lact ing bal le t (go ing to) basketball

b i rd watching camping car racing (watching)

chess (p lay ing )cinema (going to)

[movies (going to) - US] c lothes (making)

c o l i c c t i n g ( s t a m p s )

compu te r

(p lav ingcomputc r games) concerts (going to)

cr icke ' t (p la1, ing) r - r r c l i t - r t r- . ' - , . , . -d i sco -danc ingc lanc ing c l r i v ing

68


-

'-

-:

4

-

-

-


'=

-

.:

'a

-:,

I

-l

a

4

J

I

films (watching)

lmovies (watching)_ uSl I fishing ?

football(soccer - US)fencing

hockey huntinghang g l id inggardenin hik ing

, javel in ( throwing) model makingjumping

fmov ies (going to) )

a ppRopera (go ing to the ) I pa int ing pets ( look ing af ter

C,NEA4AR,EX

photography poetry lwrit ing)p icn ics (go ing on /hav ing)

/:*:#

69



: -.<

:

: '

: - -

L--

E

L-

]-

F-

=-

:-

:-

:

:

L_

L-

l,-

ts:

1-

5

1

>-

!:-

F

F

t--_

F-

t--

t-_

l+

5

-

rad io ( l i s t en ing t o ) read ing r i d i ng

rock c l imbing runnlng ( ) shopping s ingingsai l ing

sunba th ingsnorkell ing swlmmlngsk i ing squash (playing)

tab le tenn iste lev is ion

(watching) (p lay ing)tennis

poo t ' ErrgD(]

Ir@n[-1 D

o

theatre fi(going to) tour ing

v ideo (making) v ideo (watch ing) water-skiing

€,

4$yogawalking

70

"-'--


Travel and places(types of transport) r

' . -

- *

. *

-a

I

-

4

-.t

bv b icyc le by camel

by car by e lephant on/by foot on horseback

by lorry/wagon(by truck - US)by hovercraft by motorcycle by scooter

by plane by shipon roller skates by taxi

by t ra in by underground by unicycle

71


L - _

!

:-

F-

:-

>--

>--

:--

=-

-

=

=

--

-

]:

!r-_

l - _

!--

t--

=--

="

P

!t-:

, . -=-

F_

!--

lL-

-

Travel and places(road features) r-

junct ion I Icornero

t

pedestrian crossing (cros?wak - US)

l]--n;r-ll: [f-Tl = I't-Tl

one-way street

roundabout

traffic lights (traffic signals - US) no wa i t i n

Topics, behaviour, nouns--

Places in atown

=

=

.a

4

=

-=

-t

'a

=

a

4

4

BANK l- l l l- l l

Etr

rai lway station(railroad station- US

cafe

Nm@

pub/public housepolice station

Corner Shop

- J u - ^

YJ;-9

doctor's surgery swimming pool

information servicefootball stadium

soccer stadium - US

73


Relations(invitations and correspondence)

:

:--

l:-

:-

L -

L.-

L-

L--

L_

L--

L,_

D.

>-*

L-

-=

L

L-

-

:-

l-

L

F

=

:

t-

l-

F

:

f-

:-

--

tnner

|lild

bring-a-bottle partycocktai l party

receiving a letterwrit ing a letterp resen t /g i f t l g i v i ng a )

vO

I

loversnot fr iendsf r iendste lephoning

1--

-

Health and welfare(parts of the body)


body

shoulders

elbow

ankle

I

t

ankle

thigh

stomachwaist

heart

breastchest

I

I

I

"J

I

-/

-l

head foot foot-Gr-

feet

*---hair

c- moustachetooth

e- tongue

face

forehead

eyebrow

eye

cheekearnose

mouth

hair --+

thumb

finger

'1

@,* (

'ge-- beard

chin

neck

75

Topics, behaviour, notions: -

:

5.

:--

:-=

t-

L,-

:-:

:-.

L--

L

l-.:.

L-

=-

-

--

:--,

-

F

=

F=

F

-

F

l-

L-

Health and welfare(ailments, accidents, medical services)

a cough a headachegot a cold a sore throat

a temperaturestomach ache

a rF,

toothache sunburn

a sprain

t\

a broken arm a bruise

AMBULANCE

ambulance stretcher

@Etablets

76

ts--

*- Topics, behaviour, notions

Clothes

J

--J

4

!

t

-:

J

J-

- ,

*4

4

-1,

-t

J

blouse boots bra

CAP hat

jacket leans

jumper(sweater - US) nightdress

pantiespullover

(sweater - US) oviamasI J l

raincoat

sandals

4shoes shorts

77

:

I

:--.-

!.--=-

5--.E

j}--

:--

!-

-k

:-

!-.

Clothes

r--15

--=

-r-.,

-r*

l--

-L.-

Topics, behaviour, nouns

>4-

]

tL-

r.<

:-:-

:--

--L-

-l-<

-F

r.-

_t-I

_-

_t--

_ -

!--

t --

-

skirt slippers socks

suitswimming costume

(swimsuit - US) swimming trunkstights

(pantyhose - US)

trousers(pants - US) T-shirt underwear

waistcoat(vest - US)

belt bracelet brooch

IearrlnS

necklace purse nng sunglasses

78

-- Topics, behaviour, notions-a Food and drink

. -

-

_ :

- :

* j

- " . I

J

- l

J

,-t

--J

coffee cream

tea

biscuit(cookie - US)

chocolatecnsps

(potato chips - US)

tm

pancake pastry (Danish)

pre sandwich sweets (candy - US) tart

79

t

-

L -

a :

--.-

L--

t-.-

L--

L-

L

L--

=

=

=

E

=

=

=-

=


Food

bacon butter cheese chicken

egg jam (jelly - us) omelette

bE;;€o

meat (beef) sauce sausage soup

-

cereal

chips(french fries - US) nce spaghetti

barbecue

t t ltr., t

t l { r lr ,

-0-!--0-.0-LL

fry

'ltt{ll

80

=---

: Food: vegetables

uhibasParagus

d,arL re4

aubergine(eggplant - US)

Xre?-n, wh'rbeor brcwn

beans beans (French) broccoli

Brussel sprouts

\

glcf''or(ed'

cabbage

uLiYe ceafr<

cauliflower celery

courgette(zucchini - US) cucumber

r"l hile

garlic lettuce

r^lh ilc

mushroom

O(ce^ aY

b lack

olive

brO.-rn

onion Parsnlp Peas

o(ae^ red or Sree^

PePPer

urhrt<

potato

r<d

radish tomato

t lh t l c

turnip

9(een.

watercress

81

-

I

]-

-G l

F4

--l.-...1

--

]'..<

t-

='

=

=

--

l-

L-_

--

L

---

ir--

=-

L-

F--

l--

L -

l--

L-

L

L-

f


Food: fruit

coconut

of 9fec^

kiwi fruit

@avocado

green or "€dt

)e\oo or 9r"e;'\

grapefruit

green or dark purple

melon

yellot.l,

\

yle reaCl/otJrl

#9(ee^

yellow

yellout <nol red

pawpaw

Of a,nQ?-

strawberry

d

t ,f f i u

d - a r

EffTIH,

.g

raspberry

grcL^or ya l low

Opineapple

82

-J

-t


Weather

lightniry

thunderstorm

it's foggyit's windy it 's cloudy

it's raining

/ , ,

i t 's sunny it's verv coldit 's snowing

t8ffit}

I 'm cold I 'm wet it 's very hot

Ll.'r:1.1.-.t';!*i1j7.;,:.,i.:. i'-:':,.:

haautumn (fall - US)summer

o a

winterspring

83

4 Illustrated vocabulary \

and grammar

In Section 4 there are over 500 drawingsillustrating prepositions, verbs, passives,adjectives and nouns. In some cases youcould copy the drawings onto the blackboardand use it to teach the meaning of theassociated word. In other cases the picture is

best used to contribute to an overall experi-ence which helps the student appreciate the

meaning of the associated language.These drawings are more useful for practice

than for presentation. The drawings can beused to cue alternatives in sentence patterns,or to cue answers to questions or as reference

and the starting point for discussion, con-versation and stories. (See 'Some basic ways

of using pictures in language teaching'/ pages128-736).

s-

b=

L-_

>-_

L*

>_

>_L_

L--

L-

L-

L--

=

s-

>-

l-

L.--

=-

>-

L=

=

L--

=-

L - -

L

84

Illustrated vocabulary and grammar

Prepositions

rL r tq , reus -n n a re(uJ

@aI w)rt

before after

f;up down

in front of behind

u{ton^el

to

_ t

- !

a

4a

\3:

tq+away from towards

in out

fgwithout (sugar)

v

{

\ t\- ,1-

with (sugar)

85

t-

E--

E_-. -l---L

t--

t-

E:.

f--

L-

---

J+

-*

--

--

-:

=:-

=:

F-=

L:

L.

F:

>

>*

>_

l.-

>-

|rL

-


Prepositions

Tat.."T

+linear (to) next toaround

under over

inside across

d\Ybetween

Ahrou

86


Verbs

: i l

- a

a

-=

-:

l6R SALAI

a l low

T-answer

,,:f,y{,y"ii';r r',fn70.,q{i4

answer

apologise arnve :-r attack

E{bark bathe

/=i.-."itv

blanre

=.13blor,r' ^f8,

breakbrakr:

87


Verbs=

>-.

>_.

>_-

>__

>_.

>_=

iL-

--

-

--

--

t-

--

=

-"

--

t--

F

t-

>.

-

{ Y;e-v 'come down

//a

?\OJ

88


Verbs

' -

a

a,t_

:

'-

-'=

tznx$ {

dance

nt

dance

descenddemand

ffiediv iddisagree disappear

l-drive

examlne

89

:

:*


Verbs

fal l off

.trtl

f inish

frighten

get downgather get/receive

get onget on/put on

90

Illustrated vocabulary and gramrnar

Verbs

I

= J

g l ! ' e gro\v

h i tch h ike

\

fim i ta tehun t

w'lmprove

in t roduce

?kose corvt< o -llturcday

.l

*f^il" x iftxapr'/

keep quiet

91


Verbs

L-

>

:

=

:-

+-

+

A-

+

-L

+

+

l-

5il

1

!

-1

J

!

Hl ie,"lJ ll ILU

Iisten to

look after

92

VerbsIllustrated vocabulary and grammar

make

g

,trPobey

93

:

:

>

l--

I -_

IL

=

=

!-

5-

5-

!L_

,L-

JL*

jL-.

rr--

.l_

tr,-

L_

-_

l-

a

-


Verbs

*bpol ish

put down

prefer

quarrelput away

,*

n d

O 1


Verbs

sel l

tt

shake

s ing

95

:

:

-=

-

tr-

L--

li,

ilr-

.L,-

.L,-

--

5-

\ .

.r-,

-L-

l-

i]-

rr-=

l,-

l_

l--

^--

t_

=

I

-

VerbsIllustrated vocabulary and grammar

r-

sleep

spil lsmell

stand usplash

'E-L/)

st ing

BAKER

supporr

96


Verbs

take off

telephone

thank

r\){,

turn on

turn off

97

L .

L

L

l-

L

L

L_

_L--

L-

ilL

.L-

5-

I--

.L,-_

-5.-

jL-,

iL-

+-

-L-

.a-=_

l=

[-_

L=

t=

l,_

t-

I

t


Verbs

wear

wish

98

I


Passives

She's hav ing her photo taken. They're having their house painted.

I t 's e leven o 'c lock. Shewants to go to bed: the cathas been put out . Thegarage has been locked.The l ights have been swi tchedoff. The radiator has beenturned off. The washing uphas been done .

being posted(mailed - US) being collected

Fslr orrrce

being taken being sorted

ytcToRtA

being takei be ing pu t on being taken bv being taken off

being takEn to br ' rng sor ted aga in being cle. l ive.red

FOST

99


Tenses

y swims in a pool, t toda ne s swlmmln in the sea!

(t,

( (

She's going to dr ive. She's driving. She's/She has driven.

L

+--

l

:--

>-

-=-

=-

_1-

a-:

=-

=

=

=.

=--

-

=*

=-

= -

.r-

=-

_1---

!=-

=

--t-:

!-:

:---

l*

]--

=:

:--

- L .

l_

]-

-

trs'H 7\r#14'.This rmorning l_, lrrrnped ouL of bea, goE o{ressecl,

Yan up a /vroL(hfain , swom to rni les and play<d lennis.

alb onaztng! Andils onlv luvtchlinel

100

- 2 ,

'.


Tenses

ile he was watching television the telephone rang.

After he had eaten the fish he began to feel ill.

lf Lh" sqn cotvtes oaf, I r:ilt 9o a,nol oor|a tA El,'regc.nc{e,,r .

ff I wovl {t ^i l l ion,l woqf d sail Found the Norld .

101


l--

L

Vowels and dipthongs L

5

>--

= -

:--

=:

= :

=.-

--- -

= --

L

=-

=--

=--

'tt-:_

=--

_r-

F-

= -

F-

.rL_

!--

: - - .

!-

F -

l--

-L.

-l_

t----

sheep fish bed

E

.Ghat

o:

arm box claw foot

u:

boot sun curly panda

radio

'H. ' ; / /

road

AI

Ple

AU

CI

s Coil ear flower

102

ConsonantsIllustrated vocabulary and grammar

pen bed doll

chick juggler

video three feather

socks zebra shark treasure

mask wlng

yacht

103

Illustrated vocabulary and grammarE-

-

E

+. .

+

- -

*-

--__

---

f_

-=

L-

l _ -

Adj ectivesL-

-

+--

-._

_:-._

+-

,il,

i-

-,-

F-

--

l=

L-

:-:

L

=

1-

-

=*.

t-

afra id aggress lve

Amll r w

a l i (e?tV V l

o

absen t al ive

alone ancient apart

LT? 7-77

asleep

bad bald

,,rc '

bare

beaut i fu l h i o bl ind

- e \1tr.V

I

blooclv b lun t brave b r i gh t

10.r


Adi ectives

- t

= 1

t

-!

careful

cheap

f , r \ t / ,

cheerful

&

nntaho

careless caut ior-rs

c lever

cornfortable

;-, #'>2rl\Z

,,F \.

conten t

tt \ t

c loudy

cos t l v crooked

105


Adj ectivesc

5-

i-

&*

*

*

.4,*

-4,-_

=-

--

---

-.-

t -

.L

+_

-\_

.L

-L

JL

-a-_

-a

.\-

.a_

l = _

L

a-.

l_

t-

r-=

l-

=

a

-

dangerouscrushed

1ffidif ferentc le l ightedde l ica te

2_L+

E A S V eldest electr ic

emptv enormous

nnequalend less

106


Adj ectives

- j

- t

- t _

-

e x p e n s l V e fa lse

favouri te

r \ ,Mt , t

v).t\f irst

fo iset fu l

gent legenerous

107

L.

>

L-'._

: -

L -

L--

L .

L _

L -

>

L_

L-_

-

L,-

>

-

}.

-


Adiectives

hollow

\ / \ r -'%-:

humorous ill (sick - US) rmportant

impossib le

'L--

instant intel l igent

l ight

iea lous

108


Adj ectives

. l

I

:

J-

lonely

frA6A f,"4$,,"ftmidd le-aged

'/f#,^

,[i

'./,/ (!-*--.,narrow

lfrrI

posr te

1?'a7

ftoP

tt

pa in fu

.al1

7 f.po l i te

J

Poor powerfr-r l precious

109

=-.-

5

=

s-

! f -

5

gl- -

- l l l l -

5

l

s

:-''ll

* -

-o

_,l--

:l

: l -

.+_

: l -

_ll_

+-

:

+

' .4_

_l-_

=

+

+

_l '_-

+-

_r-

+

t


Adj ectives

pflrespectfulrapidquiet

responsible

w//#

(

rude

IF€EEI

rusry

/ {oeo

selfish

serious shallow


Adiectives

t

a

_t

4

ffit hy

I

sick (nauseous - US) s imi lar

ski l ful sleepy

&2,'2:

smooth srormy

\-

straight

1 1 1


Adj ectives

thoughtful

**9

unconscl0us

OJ'

unhappy unwil l ingunt idy

wealthy

wicked wide

aTfk-r,

wool len

t72

- -

t,

-t

t

!


Nouns

bal loon

banana

chimneys

' 'fiY iltfi

CTTCUS

1 1 3

:

:

! - -

! -

l

: -

: -

I

l

l

:

:

: -

L

:

I

l

L-

: -

l-

l--

:-

F

t - _

t-

F

!

l-

F

5

t-

L

I


Nouns

curtains(drapes - US)

dustman(garbage man - US)devil

earrlng

4?^

envelope family feather

(,{ h1: ft5defire f ireplace

guitar

d€ne

174

: Illustrated vocabulary and grammar

Nouns

t

-:

,a

4

:

blhai rdr ier handbag handkerchief handles

ice cream

t /

iai l

{ [(

rl. a

I r t

k"y king

knot

1 t { 3 l r t

0

I ipst ick Ioaflift (elevator - US)

Iock matches (box of) microphoneluggage

1 1 5

}-:

L,-

>.

L

>:

L-.-

=-.-


Nouns

=--

=--

=-

=

= -

:--:_

--

-*

-_

t_

- - _

+-

-=_

L=_

L-_

l = -

l-

F--

=-=

l,-

l,--

>-

L--_

l _ :

-_.-

l-

-

qblt iqmosque mosqui to moustache mouth

nest nuts overcoat

Ergli>h

pencil plano p le

pl8eon prpe

fr g

prlson

'{::::-

pond

pylamas queen razor

116

: Illustrated vocabulary and grammar

Nouns

_a

-4

-t

4

o

shirt sleeve) r-.' saddle

spade stick sword tap (faucet - US)

towel tractortoothbrush/paste

Vre van vio l inV A S C

't\ll' ,tt:

volcano watch++i.d '

' - ' ' rq.

*- .

windmi i l zip (zipper - US)

T 1 7

>:

5 Pictures for Composition

Story sequencesOnce more I think it is better to allow a certainambiguity in the story. Fairy stories and othertraditional tales give a clear story to illustrate,see 'Beauty and the Beast', page 726.

For ways of using these pictures, see page135.

It is quite easy to invent speculative picturesand story sequences. However, people do notusually think it is going to be easy so they donot even try. When you have copied some ofthese you will feel more confident in doingvour own.

Individual speculativepicturesThe secret of inventing these is to clear yourmind of any specific incident. The picturemust be ambiguous! For ways of using thesepictures, see page 134.

-L-

l =

I

L-

5-:-

Il-_

\

!---

_L-_

L-_

L-

L,-:

L=

L

L-

>-=

>-=

-

L,_

>-

-

L-=:

=--

-

!-.

-

L--_

=--

!:

}.-

L . -

D

1 1 8

* :

- a

:.

- a

4

--=

- :

t

Pictures for composition

Individual speculativepictures

sffiwd-A9

h[1fn I

179


Individual speculativepictures

: -

:-

-

rfE .2Yt-

1^nr /--L1y-<),!f l

W i , . o

Story sequencesPictures for composit ion

I

-!

:

4

I

ee&

e

121


Two story sequences

: -

:-

:

L

1

$

122


Two story sequences

-b

t"

"L

_4

*"

_,*'

t

t

-&

4

-

4

a,-_

-i

-L.

.,

J,

ffi 4-D

G5

10 ':b:/ r'

t z J

:

:-: -

: -

: -

:

! :

l--

l - -

:

: -

: - -

t-

:

:

:-

\__

: -

---

:_

:--

:--

:

: - -


Story Maze

124


StoryMaze

-

_ t

_a_

t

a

hoppV , peacefr^l

evci(ed , nerro^s

a^9(t


Story sequenceBeauty and the Beast I

>-

}-.-

F:

--

:

: '

--

--

:

t-

l-

:-:

_L-_

_r-

-]:

_L=-

>-

-_L-_

t:

>-

_l_-

-

@o<-,-1Ael ' , , \ ls-/

126

,-_

t

-!

-!

:

a

Story sequenceLittle Red Ridirg Hood


6fr

6 Some basic ways of usingpictures in languageteaching

I hope that people rvith cttncerns verv dif ferent fromthose of language te-achers rvi l l f ind this book useiul as a

source of pictures. Hor,r 'ever, language teachers trnd, in

particular, teachers of foreign and second languages,rvillprobablv be the chief users and i t is for them that I am

ac' lding this section.

The section is di i ' ided into four parts:List ttt i r r,g, r cntlir t g nt r tl 7t tc t u rt sS1tcnkirt,q, t r i t it t g n r d 7t ic t t t rcsExnn4tlcs trf ir,nys of usirtg Tticturt's Ttage by ttngcMtdin

The ideas suggested in this section can be added to bvreferring to the books to be found in Furthcr readirtg onpage 139.

Listening, reading and pictures

Some ways of using pictures

1 To interest the student2 To help to ' translate' the meaning of the gist of the text

or of indir ' ' idual i tems of language3 To give a context for the language and for the students'act ivi tv4 To eive cultural information5 To iontribute to the search for specific information in

the text and to help the students demonstrate non-., 'e.rbal1v that s/he has for-rnd that information and

underslood i t arrd has a personal response to offer abouti t .

Teaching meaning

A single picture ma1,, occasional ly, be used to teach themeaning of a word or phrase ne$' to the student.Howe'u,er, pictr"rres are usually ambiguous; peopleinterpret them differentlv.

The most useful contribution a picture can make is to

contribute to the student's understanding of a moregeneral context rvhich mav be made up of pictures, the

ieacher's act ions, the student's act ions, sound effects andwords. I t is in the understanding of this overal l contextthat the language new to the student vr ' i l l have meaning

It is often the rt'ny the picture is used and referred to

lr.4rich gives (or doesn't give!) meaning to the 'new'

language.

Exnntplc .l: To introduce Past tense forms the teachercould tel l a storv i l lustrat ing i t with a series of picturecards n'hich s/he props on the ledge along the bottom ofihe board.

FF.=<-

=

==-

1- -

t-

= -

--L=-

F

--

=-

l : , _

-=-.-

l€:

l-._

D-

It it,ns n bttd day for Tom! First of all, he fell out of hed! ThenItt' stctod otr tht cat! Tlrcn tlrc coffee u,as hot and he burnt hisnrottth! Tlten he missed his bus! Then he was late for work!Wmt a day! etc.The cards are turned around after the story has been told.Then the class are asked Wlnt hattpened to Tom? IMathapltened firsf? He fell out of bed? (turring the first cardarourtd) Yes, he fel l orrt of bed. Then i that happened?

Exnmple 2: Show the students a complicated picture, putit away and then challenge the students to remember ithalf an hour later. This immediately cal ls for the use ofthe past tense form, providing you do not pick up thepicture but leave it hidden.(e.g. a student, tryirtg to rememher the picfure) It was a seasidepicture. Thert u,are tzto boats . . . no, there u,ere three boats . . .etc.

In these two examples the past tense form isi l lustrated, not bv the picture alone, but by the way inr,r,hich the pictr-rre ls used and referred to.

A1l the suggestions made in Section 6 for activitiesrvitl-r picturc's concern rvavs in which pictures can beused to introduce meaning and to personalise this for thelearner.

A most effective wav of helping students to becomefamiliar with the meaning of lanp;uage new to them is toask the students to produce a more effective picture thanthe one used in 1000 PlcruRES ron TeecHrRs ro Copv!

Demonstrat ing understanding

In orcler to shon their understanding and perhaps theirpersonal response to what they have heard or read, thestudents can be asked to point to a picture, to draw apicture or to arrange several pictures in an order.

=

!|.-

= -

L.-

--

>--

}.-

=-

:-

--

}-,

t=-

5--

!.--

L_

D

128

t

I

t

a

Demonstrotinp; ttrderstanding of uocnbulan1

Most pages with mult iple, individual pictures.A well known activi tv is Bingo (Lotto). For example,photocopv a few pages of the 6ook which have on themmany small pictures; cut up the pages; distr ibute theprctures among the students (f ive each); cal l out thewords randomly; when a student hears a r,r,ord namingone of his or her pictures he or she turns i t over. When astudent has turned over al l f ive pictures s/he cal ls out,B/NCO!Alternativelv, rather than calling out a word for eachpicture you can describe the piclures. This is clearly amore demanding activi tv.

Demonstrating understaltding ot' a dialogue

Most pictures in the bookIf_you want to test the students' understanding of partsof a dialogue vou can ask them to complete a ircture orto dran' one. In principle this idea

-appliej to most

pictures in the book.

Example: The students listen to a dialogue describingsomeone's appearance (on cassette or between twostudents in the class). Thev draw the information theyhear onto a simple drawing of a box person, for example,beard, moustache, lonp; hair, a bror,r,n hat, jacket, shorttrousers, etc. See page 18.

Demonstrating understanding of a storyBeauty and the Beast page 126Students can be asked to put muddled pictures into thecorrect sequence for the story you have told. you wouldhave. to photocopy the page i i ist, cut up the pictures andhand them out in a mudd led sequence.

Capped exercises, multiple clnice, truelfalse, qLtestionsand ans l r c r s

Most pictures in the bookThe information needed to do these traditional activitiescan be taken from a varietv of pictures.

Speaking, writing and pictures

Some ways of using pictures

I To motivate the student to speak or to r,r.rite2 To create a context r,r,ithirr lr,hich his/her response r,r,illhave meaning3 To provide the student with information to use rncott. trol let l practice work. pictures showing objects,actlons, events and relationships can cue answers toquestions, substi tut ions and sen[ence complettons,1 To sponsor, st imulate and possibly to r, i r i i t , spoken andr,vritten descriptions, narrations or dialogues5 To sponsor, stimulate .rnd offer infoimation for freen'riting ancl speaking. 'Free, in the sense of the teacherotfering no Ianguage guidance or restrictions

Mechanical and communicative use of language

Pictures can be used in activities which offer little morethan nec.hnrricnl Ttrnctice in the use of the language or maybe used in comnntnicntiue nctirtities r,vhiiir would b'emeaningful to the students even if they did them in theiro\,!'n langua€le.It is important to note that communicative activi t ies mavdemand an objective response or a subjectiv" ,"rponr6.For example, i f you make a big simpie drawing of aperson jumping and then slon,ly pul l i t out of anenvelope, the students can be asked [o guess what i t is.Their guesses wiil be as objective as the1,"can make them;there is a right or_$rrong ans\\,er. If you show the pictureof the seaside and ask the students io say whethei or notit reminds them of their holidays by the sea, the answersmust be subjective and cannot be fudged as right or\vrong as far as the content of what they siy is concerned.In the case of the part ial lv-hidden drai,r. ing the studentsarebeing motivated bv being chal le nged.Inlhe case of the

3rghange of feelings and e.xperienies, the students are

belng / i l? 'r fdd and crrctrr irngcd.The idea of challenge , inuitntion and encortagement canbeused by the teacher to help him or her to'minimise theamount of purelv mechanical lr,,ork the students areasked to do.

Some ways of chal lenging and encouragingstudents

The idea of challenge and inoitntion can be adapted to theneeds of students at the highest and at the most basic ofp ro f i c iency leve ls . The ac t iv i t ies a r is ing inc ludecontrol led, guided and free activi t ies, ai well assubjective or objective responses.

Identit'ying

Challenge the students to identify a picture which isdifficult to identifv. You may show them the picture atgreat speed or shon' them only a small unchaiacteristicpart of it. In the case of these two examples the studentscall out and attempt to describe what they see. Othertypes of challenge to identify depend on ihe studentsask-ing questions. For example, you think of one prctureand they ask you questions to find out which one it is.

Descrihing

Challenge the students to describe a picture so well thatother students can do something. Foiexample, the otherstudents mig;ht draw a picture based on th-e descriptionor they might just name what has been described.The student can describe by speaking or by writing and,

129

depending on the activity, the student can describe thepicture objectively or subjectivelv. For example, if the

student thinks about one of the scenes in the first part ofthe book (for example, the official and the r.r'aiting peopleon page 51) and recounts a personai experience reiatingto the picture so that the other studeni can say whichpicture it is. This would be a subjective description.

Matching

Challenge the students to find a relationship betu'eentn'o bits of information, for example, between twopictures or a picture and a text. Many of the best-knownlanguage games belong to this kind of challenge, forexample, true,/false games (in which the student has tomatch what is said against what he or she knows to betrue or false); Bingo (Lotto) games; picture/textmatchine activi t ies.Once more, the matching could be objective or

subjective. For exampie, a subjective matching could bebetween two pictures with no obvious connection exceptto an individual who feels there is one and is willing totel l the others what i t is.

Grouping

Challenge the students to find a relationship betweenthree or more bits of inforrnation. The bits of informationmight be all pictures or could be pictures, n'ritten texts,objects, tape recordings, etc. The grouping could beobjective or subjective. For erample, an objectivegrouping could be all those objects 'n'hich are usuallvassociated with a part icular job.

Sequenc ing

Challenge the students to place various bits ofinformation into a sequence. For example, a number ofindividual pictures or a number of pictures and texts. If

you cut up one of the storv sequences, for example,Benfty antl the Benst it would be an objective challenge toplace them into the correct sequence. If you give thestudents one page of objects and ask them to wrlte astory which involves at least ten of the objects it wouldbe a subjective challenge, as there is no 'correct' sequencefor this.

Ordering

Challenge the students to place various bits ofinformation into an order of value. For example, variouspictures or pictures and texts. You could photocopy thepages of foods and ask the students to put them into theirorder of appropriacy for a school dav outing b1' coach. Amore subjective invitation would be to place the foods ina oersonal order of preference and then to find someonein the class with the same order of preference'

Remembering

Challenge the students to remember what is shown in a

picture or in a sequence of pictures. You might make thatpart of a preparation for dealing with everyday lifesituations ('training the visual memory'!) Copy the streetscene (page 37) onto a transparencv, show it to the

students for three minutes and then ask them who was in

the street and rt'hat they were doing. Another wellknown picture memory game is sometimes cal led'Pelmanism', in n'hich about twentY small pictures arelaid upside down and then students try to rememberwhich is which. If they are correct thev take the pictureand have another go. Both these examples are chnllertges.

You might, on the other hand, invite the learners to Iookat the pictures of young chiidren on Page 55 andremember their own childhood. Alternatively, thestudents could look at the pages of expressions, pick outone of them and tell their neighbours when they last feltthe same and what happened.

Pictures as cues in mini-dialogues

Most pages with individual picturesPictures have been used for many years to cuesubsti tut ions within dialogues in which the basicsentence patterns are determined by the teacher. Suchdialogue work, after an initial demonstration, wouldnormally be done in pairs or group work. The pictureswould either be printed on a single sheet and taken inturn or each picture would be on a single piece of paperor card and then turned over or taken by a student. Theadvantage of the latter lies partly in the element ofsurprise and interesi; more importantly, however, theadvantage lies in the creation of an 'information gap'between the students. If only studeni B sees the picturethere is some reason for student A asking the question.The idea of information gap' and 'opinion gap' has beencentral to language teaching in the last twenty years.However, it is not enough; a'gap' is no use if the studentis not motivated to cross the gap - and that is where theidea of chnllenge, inuitation and encouragement come tn.The follon'ing example of a mini-dialogue, prompted bvpictures, hovers on the edge of being of sufficient interestto make the students want to know what the other issaying and want to respond.

Exnmple: photocopy the two pages of jobs on pages 58and 59. Cut them up and distribute approximately ten toeach group of four students. Place the pictures upsidedown. Students iake it in turns to turn a picture over andthen, referring to that picture, they ask another studentWould you like to be a (t'armer)? The other student repliest ru th fu l l y Yes , I wou ld . /No, I u tou ldn ' t / I do t t ' tknou / Dcf in i t cly rrot ! , etc.

Many of the pages of objects or of actions can be usedas cues for mini-dialogues. I suggest that you photocopythe page of pictures you need, stick the page onto card,cut up the card into the individual pictures, put theminto an envelope, write the instructions and sampledialogue on the outside of the envelope as follows:

Pictures: JobsHow to play: Place the pictures upside down on thetable. Take it in turns to pick up a picture and to asksomeone else a question.Student A: (picking up a picture of a farmer) Would youlike to be a farmer?Student B: (tel l ing the truth) Yes, I ruould. lNo,I utouldn't .Optional language: Yes, i t r t 'ould be great! lNo, i t u,ould behorriltle! ICtrtainltl not ! Ilt itottld be uenl boringlhardIfunnyIe a s v . . .

Extension into unguided oral fluency:Student A: Why?Student B: Becnuse I loue animals and I lotte workitrg outsideirt tlrc clenn nir, etc.

- _ R

]

l , _

f , _

I--

a

=.-

f

=-

= -

f - _

l - _

L-..-

:__

=

=

-!--

=-

^r-

l--

_l_-

f--

=-

_t-_

l--

F

-L-

-L-

_\--:

\-:

F..

-\-

t

130

t

_ l

I

a

Examples of ways of using the picturespage by pageIn the following section, due to l imitation of space, I haveonly been able to suggest a fen, rvavs of using the manvpictures in the book. For more ideis on usin"g pictures,see Furtlrcr rentlittg on page 139.

How to draw (pages 3 to 35)

Actirt itv 1

This section is primarily for vou. However, a drawinglesson based on the_se pages would be interesting for thEstudents and rvould contextualise, very naturallvl a lot ofbasic vocabularv for the body, plus cbmparative forms.Consider giving a drawing lbsson ... then the studentscan l re lp vou drarv p ic ture i in the future l

How to draw faces (pages 11 to 14)

Actiaity 2

The students rtould probablv enjov learning to makethese expressions and it u,ould be a good way ofbecoming familiar with the r,r'ords for the imotions. Thecomparative forms are also well contertualised vr..iththese drar^"'ings.

How to draw faces (page 1.4)

Actirt itV 3

Shor,r' the students how to draw vounger and youngerpeople. Cive each student ser.eral pieces of paper so tiatthey can produce several faces each. Ask gioups of fourto arrange their faces in terms of how old thev-look andto use the phrases: Sllrc's olderlyLtungcr than he'rlhin. Hotuold is slhe? Sllrc's about (3).

Actiuity 4

Some of the people are looking at different angles. Showthe students horv to do this and ask them to suggest whatthey think the people are looking at. Which siudent canproduce the most unexpected suggest ion?

How to draw faces (pages 15 to 18)

Actiaittl 5

Which of these drawings is a clear, unambiguousil lustration of the rvord? Which is the most ambieuous?Copy the ones vou lvant the students to learn and askthem to rank them in order of their ambiguity.

Actirtity 6

Ask the students to imagine whv the person feels as he orshe does, what has just happenbd and what r,r,ill happen

" 1,',,,o,,,,

The students, working in pairs, imagine a conversatlonbletween any two of these people. They act out theconversation. The other students must guess which werethe two faces and words providing the start ing point forthe dialogue.

Actiztity 8

Each student chooses one of the expressions and tries to

make the same facial erpression. His or her partner tr iest ( ) guess h( ) \v 5 / he fee ls .

How to draw faces (page 18) caricatures (pages19 to 24)

Ac t i t t i t t l9

The pictures on these pages provide the basis of a rvhole'soap opera/ set of characters r,r.hich can be used as asmall element in a language programme or as the chiefvehicle of i t .Teachers rt,ho have made soap opera characters a centralpart of their teaching have told me that student ase andproficiencv level make no difference; everyone enjJvs theexperience, business people as well as chi ldren:The advantage of sbap opera characters is that thestudents create everything about them and thev can bemade to do anything at al l . Information about thecharacters_can grow as the students, prof iciency grows.In the earl1, stages the characters can be given names,ages and hobbies. In the later stages theri can cliscusswhat they ivould do i f thev *on i mil l ion dol lars andthey can write to each othei about i t .The students are responsible for establ ishing theinformation since it is thelr creation. Dialogues, titters,newspapers, radio and videos can be made.-

How to draw fantasy creatures (page 2G)

Actiuit t l 10

It is often much easier to use the art i f ic ial i ty of a veryl imited amount of language about a fantasv creaturethan about normal, real people whom one knows to beinfinitelv complex! The students can be asked to suggesrcrazv names, ages, hobbies, l ikes and disl ikes for ihesecreatures.Make a character prof i le of one of these crearures.Interview him or her for one of the jobs illustrated onpages 58 to 5u.

Actiui ty 11

Imagine one of these creaturcs arriving in one of thescenes on pages 36 to 52. What would happen? Write astory or a dialogue about i t .

Settings (pages 37 to 53)The complexity of these pictures is one of their strengths.

Actirtity 12 (Arry setting)Ask the students to call out or to list dor.r,n as manvwords as thev can about the picture in three minutes. ifthis is done.in g-roups there c.rn be a grtrup competrt ion.Following this the words can be put into a! many groupsas the students can devise or into alphabetical oraer.Word trees can be made (e.g. for Si i f j rrr roorn on page,l5):

Actirritl l 13 (Ant| sctting)Pairwork. One. student pretends to be blind. The otherdescribes the scene to him or her. The first stuclentguesses where i t is.

Actiuit t l 11 (Ant1 sctt ing)

Pairwork. F,ach pair writes ten sentences lvi th gaps.These are given to another pair of students u,,ho inustcomplete the sentences by referr ing to the picture. (youmust decide whether to al low the questionjto be passed

1 3 1

7nr"l l

sitfrUhof r, blel

e-hairC"We

in[.r.s Y;56""r+"tl'able

L

L

l.-

\-_

L-

L--_

>-

>-_L - _

L ,

>

to the other pair before you correct them.

Actiuity 75 (Most settirtgs)

Pairwork. Each pair writes ten sentences rvhich are trueor false. These are given to another pair who must readthem and decide which are true and which are false.

Actiuity 16 (Most settings)

The teacher remains silent but gestures at a projectedimage or wall chart of the picture. The gestures indicatewhat the students should describe and sav about thepicture.Example: 6treet page 37)A street.A busy street.There are a lot of cars.A woman is coming out of a shop.She's comirtg out of the baker's.

Actiuity L7 (Most settings)

The students look at the picture and decide rt'here theplace is, who the people might be, what they might bedoing/thinking/feeling, n.hy they might be doing/thinking/feeling this wav, how well they know eachother.

Actiaity 18 (Most settittgs)

The students choose where they would like to be in thepicture. They say why and what they wouid be doing,saying, thinking and feeling. They could add what thevcan see, hear, smell, touch, taste.

Actiaity 79 (Beach page 40)

Each student says what s/he saw this afternoon and tries

to repeat what everybody else saw, trying to remember itall in the correct order:This afternoon I saw a girl sunbathing and a ship sailing anda lrclicopter flyiirg, etc.Alternatively: This afternoon I saw a gir l . She wassunbathing. I saw a ship. It was sailing. I saw a helicopter. Itzoas flying.

Actiuity 20 (Most sett ings)

Ask the students to look at a setting for three minutesand then to turn the picture over and to describe thepicture from memory. After fifteen minutes (or whatevertime you judge to be appropriate) ask the students tocompare their descriptions with their neighbours and towrite together as good a description as ihey can.Alternatively, you or a student stand with your back tothe projected scene and try to describe it to the class.Alternatively: each student studies one of four pictures.S,/he then leaves the picture on the desk and circulatestrying to find which other students had the same picture.

Actiuity 21 (Antt settirtg)

In pairs, the students take it in turns to describe someoneor something in the picture so well that their partner canidenti fy him/her/ i t .

Actiuity 22 (Any setting)

A student pretends that s/he is a mouse and is hiding inthe picture. The other students must try to find wherethe mouse is by asking questions: Are you in the man'shat? etc.

Actiuity 23 (Any setting)

In pairs the students write ten sentences about the

L._

\-_,

>-

-

>.

>-

-

b - _

>

_L-

:-.

L.'

\ - _

\ - _

L_

D

1 a aI J L

t

I

I

I

picture which mav be true or false. The students givetheir sentences to other pairs who must read them lnddecide whether or not they are true or false.

Actirrit!/ 21 ( Any setting)The students write a list of twenty things which mighthave just happened before the situation depicted in t"hepicture. Alternatively, thev write twentv things n,hichmight happen next. Display the students, ideai and askthem to decide who has the most interestins ideas. youmight l ike to-h_elp them to get the idea bv practisingorallv with a different prcrure.Example: (Terrace pog" :O)Wut might hnue just happened lteforc the Tticture?The man zttltLt is reading nright hntte gone into the house andasked for n drink.

Actiaitr l 25 (Any sett ing)

Students write a letter or a postcard as if thev \\rere aperson in the picture. Thev can inclucle several thingswhich are un t rue . Another s tudent reads the le t te r a r iddecides i f anv of i t is untrue.

Actiaity 26 (Any setting)Croupwork. Give each €jroup a copir of the same picture.Each group lr'rites ten questions about the picture. Takethe pictures from them. Each group then tal ies i t in turnsto ask a question of the other groups who must writedown their answer from memorv. When everv grouphas asked f ive questions f ind trut nhrch groups have themost correct ans\.vers.

Actioity 27 (Any setting)Cive each pair one photocopv of a scene. (Errlarge thepicture to fill an .A4 sheet if possible.) Ask them t; holdthe paper to ihe light but to view the scene from the backof the. paper. They will see the picture through the paper.Ask them to write on the back of the sheet ill the wordsthev can which describe the picture on the other side.Thev should r,r,r i te each r.r lord eractlv i ,r-here theobject/person shows through from the ot lr-er side. This ismore easi iy done i f the picture is held against a window.

11..^"'dl,lj"ihu P'"

This paper can then be used as a vocabularv test bv thestudents. Student A sits with his or her back to thei iehtand looks at the picture. S/he points to each part of ihepicture naming whatever s/he can. StudeniB, on theother side o{ the paper, can see the picture showingthrough and the written vocabuiary, as well as thEshadow of the other student's f inger. Student B can thenconfirm or reject what Student A is saying.

Actiuity 28 (Most settings)Photocopy g scene onto a transparency. place a piece ofa paper with a hole in it on the OHp glass. pass tiie scene

over the hole and challenge the students to identify whatthey carr see from ihese tiny glimpses and to prediit whatother things they might see and to remember what theyhave seen. Then show them the whole picture ratherthan the hole picture! This is known as the hol ist icmethod! (strange English humour .. .)

Actiuity 29 (Most settirtgs)Photocopv various scenes. Cut them in half. Give eachstudent a half picture. S/he writes four sentencesdescribing their picture. Display these descript ions.Students read the descriptions and decide who has theother half of their picture.

Actiaity 30 (Most settitlgs)Photocopy some scenes. Cut them into six or eightpieces. Cive each student one piece. The students m"uststudv their piece of picture

-and then talk to other

students and find out wh_o has pieces of the same picture.Finally thel' should put a11 theii pieces of picture tbgetherto make the whole picture.

Topics, behaviour and notions (pages 54 to g3)

Acti t i ty 31 (Most pages)

Many of these pages can be used as picture cues for themini-dialogues described. on-page 130. part icularlyuseful: profersiorr: pages 5tr to j9; rt t t i tnals pages b5 to b6;t ' r t t t . tnt.c pages 6lt to 70; trnrcl page 7l : l t t 'al t f i page 75 to76; clothes pages 77 to 78; food piges 7o to 82; triatier page83.

Erample: u,entherStudent A: Wtnt's the u,enther like today?

flu{ent B: (-student, picking up a card) k's rait t ing.Student A: Wnt are Llolt goittg to do, then?Student B: I t l t ink I ' l l . . . (go f ishing).Student A: Good idea! / You ntust l te mad! / I zui l l nsuel l ! / Oh, I u,on't l /Ridiculous!, etc.

Actiuity 32 (Most poges)Pairs look at a page for three minutes and then wrrtedown all the pictures thev remember.Alternativelv:_cut up the page inttr twentv pictures. Turnthem over and try to remember which is which. point atthe back of each picture and try to name it. Turn it over.If you are right you can keep it.

Actiaity 33 (Most pages)Croupwork. One student thinks of one picture shown onone page and the others ask questions [o f ind out whichit is.

Actittity 34 (Most pnges)Pairs studv one page and try to find ten different wavs ofg ro t rp ing the ob jec ts .

Actiuittl 35 (Most pages)

Cive any two of the pictures to a student and ask him orher to say_what the relationship between them might be.Example: The postman slnuld ent this beef to make ii, Irg,strotryer.When I'm hot I don't uant to utenr a heauV suit.

_tJ--)

Actiuity 36 (Most Ttictures of objects)

Students are given a picture of an object and have to tryto persuade other students to 'buy' it.Alternativelv, the student has to complain about theo b j e c t s / h e h a s ' b o u g h t ' . T h e c l a s s c o n s i d e r t h ecompla in t and dec idc i f i t i s conv inc ing .Alternatively, the student has to think of f ive dif ferentthings that s/he could do with the object he or she hasbeen given.Groups could compete to see hon' many different thingscould be done with the object.Alternatively, the students try to say i.t'hy one of the

[i"tt" represented on pages 14 to 22 would love to have

Actiaitrt 37 (Most pictures of objects.)

Give each group pictures of tn'entv objects and ask themto decide which five objects they rvould take if they were:on a desert island/staving in hospital/camping onholiday/on a train journev

Acti i t i t t l 38 (Most pages.)

Cive the student one of the pictures and ask him or herto sav n'hv it could be a metaphor for something else, forexarnple, their fr iend/a student/a teacher/a teenager/aprime minister/1ove.

Actiuity 39 (Professions plges 58 snd 59)

Stuclents choose one of the jobs, write four good thingsabout i t and four bad things about i t . Read their eightl ines to another student and see i f s/he can identi fv thejob referrecl to.

Acti t t i ty 40 (House atd honrc Ttages 60 to 63)

Give selected individual pictures to each student. S/hewrites three l ines clescribins i ts use. S/he snows thedescriptions to five other students who try to identify theobject referred to. I f most of the students identi fv theobject correctlv then s /he has communicatedsuccessful lv!

I l lustrated vocabulary and grammar (pages 84 to1171

I l lustrat ions of grammatical features and vocabulary don o f l e : c l r l h p . r r n . e n f \ r e n r p c p n t p d l i i r o n l U h v" " " r ' -'lrandling' the grammar and cxlteriertcltl,q its meaningsthat the student can learn. With this in mind, i t is a mostuseiul act ivi tv to ask the students to think of alternativeways of drawing pictures to i l lustrate the concepts in thissection. In the act of doing this work the student's feel ingfor the grammar w'ill take a step forward.The manl' acti"'ities r,r'hich focus on grammatical pointsor specific areas of lexis r,r'hich are possible with the otherpictures in the book are just as l ikeiy to help the studentsto internalise and grasp the grammar as a specific sectionon grammar.On pages 100 and 101 there are eight str ips of picturesi l lustrat ins various tense forms. Cive the students aselection of ten verbs frorn pages 87 to 98. Either n'ritethe r.erbs on the board or photocopy the pictures andgir.e each pair of students an identical set. Select thestrips of tenses lr.hich vou wish the str,rdents to practise.Each pair attempts to make as many alternativeexamples as possible using the ten verbs. After f iveminutes ask each pair to join another pair and to addtheir sentences toeether. Cive'them another f ive mtnutes

to find as many examples as possible. See which group offour has made the most examples. Examine eachexample of the winning group with the class as a wholeto check that they really have won! This enables you todo some intensive grammar practice!

Pictures for Composition. (Pages 119 to 127)

There are four types of picture in this section:1 Individual speculative pictures which are intended foruse as single pictures. Pages 119 to 120.2 Ambiguous story sequences in which there is no final'correct' story. Pages 721 to 723.3 A flowchart of random pictures, abstract marks, words,symbols, numbers which act as cues for a story. Pages724 and 1.25.4 Picture strips of well known stories. Page 726 and 127.

Individual speculative pictures. (Pages 119 to1201

Actiuity 41 (Any speculatiue picttrres)

Using one of these pictures a possible sequence ofactivities is as follows:

Description

First of all, the students describe in very simple termswhat thev can see. How manrl people are there? Wat's this?etc.

Interpretntion

Conflicting individual interpretations of what isrepresented become apparent very quickly, and shouldbe encouraged as they lead to genuine exchanges ofviews. It is advisable for the teacher him/herself not toallow anvone's interpretation to 'crush' another's.Here are some usefui ouesnons:W'nt is ha1tpening?Do you agree?Wut has hawened?Whnt zttill happen next?Wttl tlo rlou thirtk this is a roorn irt a houselhutlfactorylschool,c tc .?Wy tlo you thir* it is a back door nnd not a front doctr?

Personnl experiences

Sometimes discussion of what might be happening in thepicture leads to personal experiences, for example,accidents of various kinds. Let students tell each otherthese associated experiences ... possibly some can beshared with the class as a whole.

Broctder isstres

Sometimes a broader issue might emerge and behighlighted bv the teacher. For example, the question ofpunishment for people who are seen as responsible forthe 'accident' . Hout sltould the person be putished? tAhat isthe role of ptuishment in society? How haoe you beenpunished?

Written and acted conT)ersations

Ask the students to imagine a conversation between thepeople (or other people not depicted, e.g. a neighbour)before, during or after the incident depicted. Theyshould write the conversation down, perhaps withanother student, and then act or read it out.

>-

=:-

L

=-

L

L-:

>:

::

L=

_t-

L

L - -

:-

>-L .

-

=

L,_

L-

D

L-

L-

L

L.

L.-

5-

:-

5

L

134

I

I

t

I

Moking t lrc Tt icture less antbigrrotrs

Agree on an interpretat ion of the pictures. Ask thestudents to suggest hor, l ' to make the picture lessambiguous bv modifving the drau' ing: by adding to i t orbv changing parts of i ts. This act ivi ty is very useful forcontextual ising the fol lor,r ' ing language:

L . rn t r ty l t (Page l2U bot t t rm r igh t p ic tu re)I.f tlttu iunrtttd ttt rtnke thc .LticttLre into t't sittirtg rtttnn rntlu,rthntt n clnssrtttutt itlnt sltoultl rlttu dtt?Yttt t sl tott ld plrt sonta curtLt ir ts t tr t t l rc i t , i r tdoia.LIou csrt Vor s/ror{' tlnt it is t1 irittl(tu,? Wlnt shttultl qoutlrsiL,?Yctu could dToit, Lt i t int l t ta' /cr l .gc nrtd sotrt t ' ref lect iLtt ts ort t l tg/nss.Ytttt cottltl tlrnu, sonretlurtg tltrough tlr itirtdott. etc.

Ambiguous story sequences (pages 121 to 122)

Actiuitrt 42

These stories mav be copied as thev are or cut up ir-rtotheir different frames. There is ,-rc, c,n.- correct storyrPairs of students invent a storv. Each makes sure thats/he knorvs their storl ' and then l loes hr other students totake i t in turns to tel l ihe storv, referr ing to the pictures.

A f lowchart of random pictures, etc. (Page 125)

Act i t i t r l13

If the stuclents ha'"'e never seen such a thing in their li','esbefore i t lvould be better to invent a story together,oral ly, based on t ir is page. You could .rsk the students tcttake a soap opera character through this rnaze ofinformationl Once the.v have the idea thev can be askedto make their on'n flolvchart and then to \,\'rite their wavthrough i t . Essential lv, the studer.rts are asked to write astorv in r,r'hrch everv piece of information is taken intoaccLrunt. The reac'ler of the storv should be able to follolvthe route throtrgh the inftrrmatirrrr n'hich the storv n'r i tertook .Note: three tvpes of l ine and their possible interpretat ionl.rave been clrar,r,n at the bottom of page 125. Theseemr:rt ions can add ' f lavour' to the storv.

Story sequence: Beauty and the Beast. (Page 126)

Actiuity 14

The students can be asked to studv the str ips, imaginethe storv and to tell it or r,r'rite it before vou tell it.Alternativelv, copv the str ips, cut t l renr up anti give themto a group of stude.nts. Then ask the students ttr put thestr ips into the correct sequence as vou tel l them the story.

The gist of Bcnuttl tttrtl tlr Bcnsl is as follolvs:1 A riclt nu:rclnttt hoLl tltree sons nrrtl tlrret, tlnttghtcrs.2Tltc t lotrrrgt,st t lnuqlter i tns cnl l t , t l Bt:nutt1.3 Tlrc merclnrtt it,os lnr,irtg, n diificult titrtc ttnd hntl rro mtttrt:r1lcft.4 Llis cltildrcn lL1erc u(nl ztttrrit:d.5 Orrt tlnrl tltr: rnerclnrtt sct ofl to n tlistnttt tottrr tct tlct sonrlrrisircss. Tlte oltlcr sistcrs u,nrttt't/ linr to ltrinc thtwt dresscsfront thc citq: thc l trofhus uwnteLl snsrt hnts; Bttt tr ty justosked for n rost'.6 Tlrc fnthcr cnrne to thc cttstlt,.7 Tltrc iLlos n() (nk' ttbcwt so ht: iacttt ittside nttd fcttttd n ntanlt t t t i t i rrg. He ntc i t .B Thcrc a{rr?-s nr) o,lr' nbout stt k slapt ttrt ortt of tltc bcds.9 Nc.t/ nrcrnirtq l t snu n rosc nrtd retnt,tnltering Benrrtt l ht:

pickeLl it .for hcr.10 StrLldt:rrly n lugc rnttrtster nTtpenred nnd snid, 'You

haueentert nrtl food ttrttl slept in nty ltetl, nou you hnue tnken myrosc!' Tht rnerchnrrt told the moilster thnt tfu rose u,ns lor l.istlnuslier.17'Ciz,t : nE ttour dnuglrter t t t l tertt , ise I zai l l ent you! ' snid thetttottstcT.72T|rc rrrcrclntrt u,errt l tortte so t lmt lrc could snq goodbrlc to hiscltiltlran l:e.ittrt retttrrritrg ttt tlu: ntonster to bc r:nten. H()lL1erer,Btntttr l i t tsisfcd ort rcturtt i r tg i t , i th hin.13 So Benttt t l r t turtrct l iui th lrcr f t t ther to tha cnstle.11 Ercrll ti,crtitrg thc tnttuster catilc to it,ntch Benuty eat nntll l r tr t l , t lkt, l f i r tr ' i /rr ' r .15 fftis cr-trttittucd for selernl rnotttls rrtttil BeatLttl snitl htnutrruclt she nisscd hcr fntlur. Tht: nrttnster gnt,e lrcr n ring andtold her thnt i t tuould cnrry her horne nnd l tLtck ngain instat ly.L!c rrttttle hcr ngrec to rctirrt itt onc u,eek.16 Her intlrcr rt,ns 7,erv pleasetl to see her nrul slrc staycd t'ortnore t lntt n u,t :ek.77 SudLlett lr l , otte tr igl t , she u,okc ul1. Sfu felt sonethirrgterr ible luttl lmp1terted.l8 Slic tcrrrft tl:r ritts Ltrui tuntetl it on lrcr t'inger.19 Irtstnrrtlrl, s/tt, it'as bnck iuith tlte rnorrcter. She fttuntl hintIt1 i rtg in tht cttrdcil ns if lrc tt'rc dt'n11. 5l tt tt'ri-i sd -so/rt thnt shekisseti hirn.20 He ttltt:ttctl li-s rqcs ntttl slre told hint tlnt she loud hin.27 T'lis rcns tht trntgic lrc trct:tled! LIe turtted bnck irto abcautiful Ttrirtct:.22Tltcr1 nnrr i td Lttd sl l t l rc fnni ly cnnrc to their iaedditrg.

Media

Chalkboard and whiteboard

Whenever possible do vour drawinp;s on paper, card oron OHP transparencies so that vou can use them ag.t in.(Preparing pi i tures at horne alro m"arls that vou candrau' in peace and produce them the instant vou needthcm.)

If you do r,r. ish to dran on the board, i t is oftremendous help i f vou have at least tr ied out thedralr'ing beforehand, perhaps copving it from this bookor from a photograph.

Manv teachers sav that the r.ery inaclequacv of theirdrarvings catches the students' attention. However, er. 'ena good joke begins to lose its attraction u'hen relentlesslyrepeated! Even professional i l lustrators n,ould f ind i tdifficult to drar,r, an_v action, animal or object on theboard i f thev had not prer. iouslv str-rdied i t . So, i f you f indit dif f icult to drar,v on the board rvithout sLrnlepreparation you are quite normal!One wav of retaining interest and class cl iscipl ine u'hi levou drar,t is to ask the studerrts to guess n'hat vou ared ra r,r ' ing.

Making the picture develop or rnodifying the picture ispossible on the boarcl; this is impossible i f the picture isprepared beforeh;rnd. This factor, plus the interest of:ecing strrnething being made is the board's greatattract ion.

Magnet board, f lannel board and'Blu-tack'

Sol id people rather than st ick people are essential forthese media. People, animals and objects can be stuck onthe board and movecl around on a setting, providingreference for the practice of specific language or for lesscontrolled oral and lr,ritten composition. They can alsobe used as a support for l istening comprehension.

'Blu-tack' is a brand name for a substance rather l ikeplasticine. Small bal is of i t can be stuck onto the back ofpictures ancl then stuck to most hard surfaces. i t can be

135

used many t imes and doesn't usual lv darnage the pictureor the rval l , al though i t does sometimes! 'Blu-tack' orequivalent products are very much more convenientthan magnet board or flannel graph and offer more orless the same versati l i tv.

Wall pictures

The scenes in this book rvill prove invaluable in makingrval l pictures. As n' i th al l pictures i t is essential that thevital detai ls are big enough and clear enough. Sol idfigures rt'ould normallv be clearer tl-ran stick figures in .l'rvall picture-.

Picture cards for class use: f lashcards

Such cards must be one of the most f lexible of the media,part icularlv nou, ' that 'Blu-tack' and i ts equir. 'alents al lowthe teacher to st ick the cards onto the board or ontocupboards, etc. Their chief role is in intense oral r'r'ork,

bolh controlled and open. The ease with l'r'hich a picturecan be product-d, shorvn to the class or to an individualand then pu_t awav helps the teacher to create a stlnse ()f

urgency ano drama.A picture card can, of course, simply cue a response as

described abo"'e. Hort e'u'er, there are more challengingor inviting activities possible rvith picture cards whichmake the students want to sPeakl

For example, a series of action cards are' shovr'n to thestudents. When thev are famil iar u' i th the ones in vourhancl (about six or seven of them) shou' one card to halfthe class (Group A). Then tel l evervone to concentrateand feel the telepathic u'a','es! Croup B then has threeguesses: ' ls irc szt immlrrg? Is lrc juntpirtg? Is he plnrl i r tg

ftxttbal l?' See i f telepathv rtorks: trv the erperimentt \ \ ' en tv t imes an t i record t 'ach t ime a 8r ( )up tuessescorrectll' u'ithin three guesses. This sirnple sentencepattern is an intr insic part of the activi ty. Furthermore, i tis used as a genuine question. The students really r'r'antto knor'r'. Er''e'n a drili can be communicativel

Here is another erample of the use of a picture card, inthis case for open, unguic-led communication. Take anvpicture carcl shorving J ferv objects or people on it. Holdlt so that the class sc-e the reverse side of the card, thenspin it r''erv rapidll'l Thei' rvill onlv see a flash of thepicture and u' i1l protest! Horvever, experience of plavingthis game shor,r.s that people do see something.Graduallv, as vou spin the card again and c-ncouragediscussion the content of the ptcture is establ ished.

Picture cards for group use

The cards can obviouslv be smaller tht-rn for class use.Their main purpose ls to cue language in control ledpractice. A single sentence Pattern or a mini-dialogue is

set bv the teacher and u,r i t ten on the board or on a pieceof caid u,'hich all the group can see. The picture cards areusuallv placed face don'n. lVhen i t is a student's turn tcr

speak, s/he picks r"rp a card and refers to i t in his or her

sentence.

Ernnryle: pictures of t'tttttlsStudent A: (picking up a card) Do t1t ' tu l ikc (chips)?

Student B : (answ'er ing t ru th fu l l v ) Yes , I t lo . lNo, I

don ' t . fYes , I lo t ,e them. lNt t , l ha te th tm.

Ertensiott into unguidetl oral f l trurcy

Student A: Hotu often do you ent tlrcm?Do you cook tlrcm or butl then?Wrcn did tlou Inst ent thcm?Are chios hnd for uou?

The overhead projector

Pictures can be shown on the OHP with ease. They canbe prepared beforehand, either by hand or copied on aphotocopying machine. They can be produced at theright moment, moved around on the screen, have textadded to them and then be stored away to be used again... and again. The great f lexibi l i ty of the OHP in terms ofthe wav in which pictures and text can be used meansthat all the skills at ail levels can be catered for.

Computer programmes

Simple drawing packages are readi lv avai lable. Thetechnologv to combine lr , 'ords, pictures, interactivescreens, animation and voice simulation is here. Thestickmen and stickwomen in this book have no fear ofalternative media and are ready to hop into anvprogramme vou may l ike to write.

Further readingBvrne D Tenching Oral Ertglish LongmanFletcher and Birt Nezssflns/r NelsonGranger C. Play Games Witlt English HeinemannHadfield I Elenrcntnru Communication Games NelsonHadfield I Intermediate Cttmmunication Cames NelsonHadfield 1 Adttanced Cotnnunication Cnmes NelsonHadfield J and C Writirtg Canres NelsonHil l D Visirnl l r tpncl LongmanMaley and Duff Drnma Techniques in Language LearningCambridge University PressMaiey, Duff and Grel let Thc Mind's Eye CambridgeUniversitv PressPalim and Power lttnrboree NelsonPalim, Por.ver and Vannuffel,Tonfuola NelsonMcrrgan and Rinvolucri Ortce Uport a Tine CambridgeUniversitv PressUr and Wright Fit ,e-Minute Actiait ies CambridgeUniversity PressWingate I Fun With Pictures The Friendly PressWingate J Fun With Fnces Pilgrims and the Friendly PressWcxrlcott I Take Your Plck NelsonWright, Betteridge and Buckby Cnmes for LanguageLearning Cambrid ge University PressWright and Haleem Visuols for the Lnnguage ClassroomLongmanWright A Pictures for Language Lennting CambridgeUniversitv PressWright A Storynaking nnd Storytel l ing With ChildrenOxford Universitv PressWright and Dudas Son2t Oyteras: Class Created FictionalComntuti t ies Nelson

E-

IL

L-

E--

L _ _

L

\ _

L,_

=

=

=-

=*

l!-_

D - .

=

ts-

:-

=-

-

:-

-

-.

-

-

L

\-

l-

\-

::-

L-_

136

_t,

-l

J

a

Index

above (prep), 86absent (ad j ) ,104accident (n), 76across (prep), 86acting (n), 68actor (n), 68adjectives, 101-172adu l t (n ) , 55aerop lane 6) ,30 , 42 ,71af ra id (ad j ) ,104after (prep), 85against (prep), t t6aggressive (adj), 1{-}aagon ised (ad j ) ,15agree (v), E7alive (adj), 10'1al low (v), 87alone (adj), 10,1along (prep), 86ambulance (n ) ,76among (prep) ,86ancient (ad;), 104angrv (ad j ) ,15 ,125animal (n), 28 30, 65-66ankle (n), 75answer (v), 87anxious (adj), 15, 33apart (adj), 104apartment - US (n), 60apologise (v), 87apple (n), 82architect (n), 58a r m ( n ) , 7 5 , 7 6 , 1 0 2armchair (n), 45, 61around (prep), 86arrive (v), 87arrogant (adj), 15art gal lery (n), 53ar t i s t (n ) ,58ask (v), 87as leep (ad j ) , 34 ,104asparagus (n), 81assistant (shop) (n), 59at (prep), 85, 92attack (v), 87att ic (n), 60aubergine (n), 81aunt (n ) ,57autumn (n) ,83avocado (n), U2away (prep), 86, 94away from (prep), 85a x e ( n ) , 1 1 3

b a b y ( n ) , 1 1 3back (n), 75 (adj), 104

bacon (n), 80bad (ady), 104bake (v), 87baker (n), 46, 58bald (adj), 55, 104b a l l ( n ) , 1 1 3ballerina (n), 68ballet (n), 68ba l loon (n ) , 113b a n a n a ( n ) , 8 2 , 1 1 3b a n d ( n ) , 1 1 3bandage n), 50bank (n), 73barbecue (v), 80bare (ad j ) ,104bark (v), 87baseball (n), 68basement (n), 60basketbal l (n), 68bat (n), 65batlr (n), 43, 61 (v) , 87bathe (v), 87bathroom (n), 43, 60beach (n), 40beans (n), 81bear (n), 65beard (n), 55, 75beast (n ) , 126beauti ful (ady), 10abeauty (n), 126bed (n), 45, 61 , 102, 103bedroom (n), 45, 60bee (n), 65beef (n), 80beer (n), 79before (prep), 85begin (v), 87beh ind (p rep) ,85be low (prep) ,86be l t (n ) ,78bend (n ) ,72beneath (prep), 85between (prep),86b icyc le (n ) ,30 ,71big (adj), 10ab ik in i (n ) ,77bird (n), 30, 65bird watching (n), 68biscuit (n), 79bite (v), 87bitter (adj), 15blackboard (n), 51b lame (v ) ,87blanket (n), 61bleed (v), 87b l ind (ad j ) ,104

blissful (adj), 15blond(e) (adj), 10abloody (adj ) ,10ablouse (n), 77blow (r ' ) ,87blunt (ad;), 104boat (n), 40, 71body (n) ,75boi l (v) ,80bomb (n) , 113book (n), 32, 52bookshelves 6),52,61boot (n), 77,102bored (adj), 15borrow (v) ,87bot t le (n) ,81bowl (n) ,63box (n), 102,115box people (n), 8-1()boy (n), 55, 56bra (n) ,77bracelet (n) ,78, 113brake (v), 87branch (n), 67brave (adj ) ,104bread (n) ,46,79break (v), 87breast (n), 75b r i ck (n ) ,113br idge (n) ,72bright (adj), 104bring (v), 74, 88broad (adj), 105broad-faced (adj), 55broccoli (n), 81broken (adfl,3a,76brooch (n), 78brother (n), 57browse (v), 52bruise (n), 76brush (n), 63brussel sprouts (n), 81bui ld (v) ,88bun (n) ,79bungalow (n), 60burn (v), 88burned (partic), 88bus (n ) ,41 ,77 ,113bus station (n), 41bus stop (n), 47 , 73bush (n), 67business man/woman (n),busy (adj), 105butcher (n), 58butter (n), 80butterfly (n), 65

137

but ton (n ) , 113buv (r ') , '16, 88by (prep), 71, 85

cabbage (n), 81cactus (n), 67caf6 (n), 47 , 73cake (n), 81cai l (v), 88calm (adj), 1{J5camel (n), 65, 71camera (n ) , 113camplng (n), 68canal (n), 6; lcandy - US 6) ,79cap 6) ,77car (n ) , 30 ,68 ,71r : r r : r i n o l r r ) n R

caravan (n), 60care fu l (ad j ) ,105careless (adj), 105caricatures (rr), 19-2,1carrot (n), u16311y (r'), 8[3c a r t ( n ) , 1 1 3c a t ( n ) , 2 9 , 6 5 , 1 0 3catch (v), 88cauli f lon,e-r (n), 81caut ious (ad j ) , 15 , 105c a v e ( n ) , 1 1 3cedar (n), 67celerv (n), Elcel lar (n), 60central heating (n), 62cereal (n), 80cha in (n ) , 113chair (n), 32, 61cheap (adj), 105check ( in), .18

cheek (n), 75cheerfr.r l (adj), 105cheese (n), 80chemist (n), 58chess (n), 6Ecirest (n), 75chest of 4v61a,g1s (n), 61chick,/chicken (n), 30, 66, 80,chi ld (n), 55chimnel ' (n), 113chirr (n), 75chips (n), 80chocolate (n), 79choose (v), 88chrvsanthemum (n) ,67

c h u r c h ( n ) , 1 1 3c inema (n) ,53 ,6 t3c i r c u s ( n ) , 1 1 3citv (n), 64classroom (n), 51clarv (n), 102ciean (r ') , 88 (adj), 105clear (adj), 105clever (adj), 105cl imb (v), 70, 88clock (n), 61c lose ( r ' ) ,88 (ad j ) , 105clothes 6), 68,77-7Ec loudy (ad j ) ,83 , 105coat (n), 77coathooks (n), 61

cock (n), 65cocktai l party (n), 74coconut (n), 82cof fee 6) ,74 ,79cold (n), 76 (adj), 15, 83,col lect (r ' ) , 68collectecl (partic), 99comb (n) , 113come dorvn (r.), 88come on (r ') , 88comfortable (adj), 105compass (n ) , 113. ! r n r n r r f p r l / n ) A l 6 R

concentrat ing (adj), 15concent ra t ion (n ) ,11concerts (n), 68confident (adj), 15consonants, l03content (adj), 105cook (r.), 88 (n), 58cooker (n) 32, 43, 61cookie - US (n), 79cooking (n), 68c o o l ( a d j ) , 1 0 5copv (r ') , 88c o r k ( n ) , 1 1 4corn (n), 67correct (adj), 105costly (adi), 105cottage (n), 60couch (n), 62cough (n), 76 (r ') , 88count (r. ,) , 88countrvside (n), 39courgette (n), 81cousin (n), 57c o n ' ( n ) , 2 9 , 6 5crab (n), 65crarv l (v ) ,88crearn (n), 79cricket (n), 68crisps (n), 79crocodile (n), 65crooked (ad j ) ,10561ss5 (1 , ) ,89crossrvalk - US (n), 72c r o r v d ( n ) , 1 1 4crushed (ad j ) ,106crv (r ' ) , 88cucumber (n), 81cup (n), 32, 63cupboard (n ) ,61curious (adj), 15, 106cur lv (ad j ) , 55 , 102cur ta in (n ) , 11 ' tcushion (n), 11:lcut (n), 75 (r ') 89cvcl ing (n), 68

daf fod i l (n ) ,67dance- (r,), 68, 89dancing (n), 68dangerous (ad j ) ,106dark (ad j ) , 106U d I N - l l c l l l E u \ ( r u J r , J - '

dead (adj), 106deaf (ac-l i) , 106dear (ad j ) , 106deckchair (n), 38deep (ad;), 106

deer (n), 65de l ica te (ad j ) ,106delighted (adj), 106delivered (partic), 99demand (v), 89dentist (n), 76denv (r ') , 89descend (v), 89desk (n ) , 51 , 61detached (adj), 60determined (adj), 15dev i l (n ) , 114different (adj),106dig (r ') , 89dining room (n), 44, 60dinner (n), 74diphthongs, 102dirty (ad;), 106disagree (v), 89disappear (r,) , 89d isappo in ted (ad j ) ,15disapproving (adj), 15disco-dancing (n), 68disgusted (adj), 15dishwasher (n), 61dismayed (ad;), 16display (n), 35dive (v), 89divide (v), 89dtzz.y (adl,33do (v), 99doctor (n), 58, 76doctor 's surgery (n), 73doctor 's wait ing room (n), 50dog (n), 29, 65d o l 1 ( n ) , 1 0 3 , 1 1 4done (part ic), 99down (prep) ,85 ,90 ,94drapes - U5 (n ) , 114drar,r' (v), 89dream (v), 34dress (v ) ,89 (n ) ,77dressing table (n), 61clr ink (r ' ) , 10, 17 ,74,79, 89dr ive (v ) , 34 ,68 ,89clriver (n), 58driving (n), 68drop (r ') , 89, - l r r r o o i c t - I l ( i n ) 5 R

drum (n) , 114drunk (adj), 16dry (adj ) , i06dustman (n) , 114

ea r (n ) ,75 ,102ea r r i ng (n ) ,78 ,114eas,v (adj), 106eat (v), 44, 89ecstatic (ad;), 16egg (n) ,80eggplant - US (n), 81elborv (n),75eldest (adj), 106electric (adi), 106electric f ire (n),61electric heater - US (n), 61elephant 6) , 65, 71eievator - US (n), 115empty (adj), 106endless (adj), 106

105

F-F

+

tl

a

f _

L

it

f _

L

=

I t _

:::-

f

l-

L--

I

=-

l,-_

L-

=-

=-

l--

l - _

L.

103

n _

L

L-,

l-

L-

L

-

138

, l

_, 1

I

I

en()r[I()Lrs (act j), I 06enrage.cl (adj), 16ente.r (r ' ) , 89entertainment (rr), 68-70e.rrvelope. (n), 11-lenv ious (ad j ) , 16eclual (acl j) , 106eramirre (r ' ) , 89exasperated (acl j) , l6excited (acl j) , 125exhausted (acl j) , 16exh ib i t ion (n ) , 53erpens i r ,e (ad j ) , 107eve (n), 75evebrou' (n), 75

f a c e ( n ) , 1 1 - 1 8 , 7 5factorv (rr), 6.1factorv r'r'orker (n), 58fai l (r ' ) , 90fair-hairecl (adj),55fa l l - 115 (n ) ,83fal l off (r ' ) , 90false (adj), 107farn i l v (n ) , 57 ,114fantasv creature (n), 26farm (n) ,6 .1farmer (n), 5Ef a r m i n " r r e r ( n ) a J" " _ ' " ' ' b

fast (adj), 1{J7fat (; idj), 55, 107father (n), 57faucet - US (n) , 117favourite (adj), 107feather (n), I03, 1 1; lfeet (n), 75fence (.,,), 69fencing (n), 69fetch (r.), 90fields (n), 64figlt t (v), 90fi l l (up) (r. ' ) , et)f i l m ( n ) , 5 3 , 6 9finger (n), 75finish (r ') , 90f i r (n ) ,67f i re (n ) , 114 (v ) , 90f i reman (n) ,5Efireplace (n), 11' lf i rst (adj), 107first f loor (n), 60first f loor - U-S (n), 60f i : h ( n ) , b - , n 0 ( \ ' ) , l q , 6 ! ,f ishing (n), 69f i s t ( n ) , 1 1 4flag (n), 11,1f lame (n) , 114flashl ight - US (n), 63flat (n), 60 (adj), 64,707flat country (n), 64float (v), 90flower (n), 67,102fly (v), e0flying saucer (n), 53foggy (ad j ) ,83follor,r' (v), 90fond (adj), i07food (n),79-81foot (n), 71,75, 102footbal l (n), 69

tootbal l stadir-rm (n), 73footb;r l ler (rr), 5Efor (prep), 86forehcacl (n), 75iorest (n), 6' ltorgetful (acl j) , 107fork (n), 32, 63forr.r.r..rl (ad1), 1 07fre.e. time (n), 6E-70freeze.r (n), 114French fr ies - LIS (rr), B0fresh (acl i) , 107fr iencls (n), 7-lfr ighten (r ') , 90fr ightenecl (adj), 16fr inge (n), 55f rog (n ) ,65 , 103from (prep), 85fruit (n), 82fruit juice (n), 79frr-rstratecl (acl;), 16frv (r ' ) , 80fu l l (ad j ) , 107funnv (ad j ) , 107furniture (n),61-62

garage (n), 60garbage.n.ran - L. lS (n), 114garc'ler.r (rr), 38, 60 (r') 69g; r rden ing (n ) ,69gar l i c (n ) , 81gate (n ) , 11- igather (r ' ) , 90generous (ad j ) ,107gent le (ad j ) , 107get (v ) , 90ghost (rr), 33g i f t (n ) ,7 - lgiraffe (n), 66g i r l (n ) , 55 , 56 , 103give (r ') , 74, 91glor. 'e (n), 32go (r ') , 6E, 69goat (n), 66goose (n), 66grain - US (n), 61grandfather / motl.rer (n), 57grapefruit (n), 82grapes (n), 82grass (n), 67greedy (ad;), 107greengrocer (n), 5Egri l l (v), E0g r i m ( a d j ) , 1 3grocer (n), 58, 73ground f loor (n), 60grorv (v), 91guide (r ') , 91guitar (n), 32, 114

lrair (n), 75,702ha i rd r ie r (n ) , l15half (adj), 107hammer (n ) ,32 , 63hand (n ) ,75hand basirr (n), 61handbag (n ) , 115handkerchief (n), 115hanc l le (n ) , 115handout (n), 35

h..rng (r,), 91harrg gl ide (r ') , 69hang gl icl ing (n), 69lrappv (acl j) , 13, 107,125lrat (n), 77, 102have ('r'), 99head (rr), 75heaclache (n), 76health (n), 75-76heart (n), 75heat (n ) , 33he.rvv (ad j) , 107he.dge (n), 67hedgehog (n ) ,66h e l p ( r . ) , 9 1helpful (ad1), 107h e n ( n ) , 3 0 , 6 6 , 1 0 3h ide ( r ' ) , 91h igh (ad j ) , 10Ehike (r ') , 69h ik ing (n ) ,69h i l l ( n ) , 6 4h i p s ( n ) , 7 5Ii i t (r , ' ) , 91hitch-hike (r ') , 91hockev (n), 69h o l d ( v ) , 9 ]hol lor 'r ,(ad;), 1Otihonest (ad1), 108horri f ied (ad;), 16horse (n ) , 29 ,66 ,71horseback (n), 71hospital (n), 50hot (adi), 16, 83, 108hot and cold n'ater (n), 61hotel (n), 48house (rr), 60household art icle (n), 63novercrar t (n ) , /1I iuge (adj), 108Itumorous (adj), 108hungover (ad j ) , 16hunt ( r , ' ) ,69 ,91hunt ing (n ) ,69hurt (adj), 16hystcrical (adj), 16

i c e c r e a m ( n ) , 1 1 5icy (adj), 83i l l (ad j ) , 108imitate (r ' ) , 91important (adj), 108impossible (adj), 108improve (r. ' ) ,91in (prep), 85, 86, 90in front of (prep), 35indif ferent (adj), 16industr ial area (n), 6,1information desk (rr), 41information service (n), 73i n k ( n ) , 1 1 5innoccnt (adj), 16irrside (prep), 85, U6 (adj), 108instant (adj), 108insu l t (v ) ,91intei l igent (adj), 108interested 6dj),17into (prep), 85introduce (r ') , 91[nvffs (v), ! ]

102

139

iron (n), 63island (n), 64

jacket (n), 77la i l ( n ) , 115jam (n) ,80

lar (n) , 115javelin (n), 69jealous (adj), 17, 108jeans (n), 77jelly - US (n), 80jog f t ) ,69,91jogging (n) ,69jo in ( v ) , 91joiner (n), 58j u g ( n ) , 1 1 5juggler (n), i03juice (n), 79jump ( v ) ,69 ,91jumper (n) ,77jumping (n) ,69junct ion (n) ,72

kangaroo (n), 66keep (v), 91keep quiet (v), 91kettle (n), 32, 63key (n ) ,115kick (v), 92kind (adj), 17, 108king (n) , i15kiss (v), 92kitchen (n), 43, 60ki te (n) , 115kiwifruit (n), 82knapsack - US (n), 40knee (n), 103kneel (v), 92knife (n), 32, 63knock (v), 33, 92kno t (n ) ,115

labourer (n), 58lake (n), 64lamp (n) ,61large (ady), 108last (adj), 108late (adj), 108laugh (v), 92lavatory (n), 60lawnmower (n),38leaf (n), 67lean (v), 92learn (v), 92leave (v), 92left (adj), 108leg (n) , 75,1.03lemon (n) ,82lend (v) ,92letter (n),74,99letterbox (n), 32lettuce (n), 81library (n), 52lie (v), 92lift (n), 715 ft),92light (v), 92 (adj), 108lightning (n), 83like (v), 92l ime (n) ,82line (get in) - US (r,), 49, 50

l i on (n ) ,66l ipst ick (n) , 115tisten (v), 70, 92litt le (adj), 108live (v), 92loa f (n ) ,115lock (v), 92, 99 (t't), 11.5lonely (adj ) , 17,709tong (adj), 109took (v), 92look after ft), 69 , 92look for (v), 93loose (adj), 109torrv (n), 71tose (v), 93loud (adj), 109love (r,), 3'1, 93lo'"'ers (n), 74lovestruck (adl, 17luggage (n ) ,115lvchee (n), 82

rnai l - US (v) ,94,99mai lboy US (n) ,32mai lman - US (n) ,59,99make (v), 70, 93mango (n) ,82m r r q r r i n e ( n ) R O. ^ . - . . b . . . . . . - . . . / / " "

marry (n), 93marsh (n), 67mask (n), 103matches (n), 115meal (having a) 6),37, 44, 47meat (n), 80mechanic (n), 58meet (v ) ,93melon (n ) ,82msnd (r ') , 93microphone (n), 115middle (ad;), 109middle-aged (adj), 55, 56,109mi lk (n ) ,79mi lkman (n) ,58miner (n ) ,58mirror (n), 61mischievous (adl,17miserable Gdj),17mistrustful (adj),17mix (v ) ,93mixer (n), 63model making (n),69monkev (n ) ,66moon (n), 83mosque (n ) , 116mosqu i to (n ) , 116mother (n ) ,57motor scooter (n), 71motorcycle (n), 30, 71mountain (n), 40,64mouse (n ) ,66moustache (n), 55, 75,776mouth (n ) ,75 ,116move (v), 93movies - US (n), 53, 69museum (n) ,52 ,73mushroom (n) ,81musician (n), 59

narrow (adj), 109nauseous - US (adj), 111

near (prep), 86neck (n), 75necklace (n), 78nervous (adj), 109, 125nest (n) , 116new (adj), 109next (prep), 86 (adj), 109nightdress (n), 77noisv (adj), 109noodles (n), 80nose (n), 75nouns, 173 - 717nurse (n), 50, 59, 76nut (n) , 116

oak (n), 67obey (v), 93object (n), 27,37-32obstinate (adj),17off (prep), 85, 97offer (v), 74, 93office (n), 59, 73office worker (n), 59oi l (n) , 102old (adj ) ,55,56, 109olive (n), 81omelet te (n) ,80on (prep) ,86,90,94,97one-way street (n), 72onion (n), 81onto (prep), 85open (v) ,93 (adj ) ,109opera (n), 69opposite (adj), 109optimistic (adf,17orange (n), 82out (prep), 85outside (prep), 85over (prep), 86overcoat (n), 116owl (n), 66,102

pack (v), 93pa in (n ) , 11 ,33painful (adj), 109paint (v), 69, 93painted (partic), 99n r i n f i n o ( n ) r ' 9r - ' - " " ' b " . , , " -

palm (n) ,67pan (n), 63pancake (n), 79panda (n), 102panties (n), 77pants - US (n) , 78,776pantvhose - US (n), 78parcel (n), -i9park (n), 38, 73parsnip (n), 81part (v), 93party (n), 74pass (v), 93passives, 99past (prep), 86pastry (n), 79patient (n), 50pawpaw (n) ,82pay (v), 46,93peaceful (adj),125peach (n), 82pear (n), 82

E_-

&-

i---L -

t=--

{.\-

d:- -

F_-

F.-

[,_-1

l*

lL-

; a _

5--_

n-

L.

--

f_

L

-ar :

L

l-

l-

L*

]--

l--

_l-=

=--

] =

l-

\ =

L

l|-

l_-

-

140

peas (n), 81pedesirian crossing (n), 22pen (n ) , 103 ,116penci l (n) , 116pepper (n), 81perplexed (adj),17pets (n), 69phone (v), 49, 97photographer (n), 59photography (n), 69pianist (n), 59piano (n) , 116pick (v), 93pick up (v) , 6 ,93picnic (n), 69picture (n), 53, 62pie (n) , 79,102,116p ig (n ) ,30 ,66pigeon (n) , 116pi l low (n) ,62pilot (n), 59pineapple (n), 82pipe (n) , 116plait (n), 55plane (n), 71plant (n), 62, 67plate (n), 32, 63play (v) , 68, 69,70,94pliers (n), 63plum (n) ,82poetrv (n), 69point (v), 94policeman/woman, 51, 59police-station (n), 51, 73pol ish (v) ,94polite (adj), 109pond (n) , 116ponvtail (n), 55poor (adj), 109poplar (n), 62porter (n), 4tipost (v) ,94,99post of f ice (n) ,49,73postbox (n) ,32posted (partic), 99poster (n), 35postman (n), 59,99potato (n) ,81potato chips - US (n),79potted plants (n),62pour (v), 94powerful (adj), 109precious (adj), 109prefer (v), 94prepositions 85-86present (n), 74prison (n), 116proud (adj), 109prudish (adj),17Pub(lic house) (n), 73pul l (v) ,94pullover (n), 77pupi l (n) ,51purse (n), 78push (v) ,94

Put (v) , 90,94,99pyjamas (n), 77 , 116

quarrel (v), 94queen (n) , 116

queue (r'), 49, 50cluiet (aclj), 1i0

rabbit (n), 30, 66race (r'), 68radiabr (n) ,62radio (n), 32,70, 102radish (rr), 81railroad station - US (n),73raih.,r'ay station (n), 73rain (v), 83, 103raincoat (n), ZZra iny (ad j ) , 83 ,110raise (v), 94rap id (ad j ) , 110raspberry (n), 82rat (n) , 116razo r (n ) ,116read ( v ) , 39 ,70 ,94 ,reading (n), Z0receive (v) ,74,90,94record (n), 70record player (rt), 32, 62, 70red r id inghood 6) ,127refrigerator (n),62refuse (v), 94region (n), 64relax (v), 38relieved (adj), 1Tremain (v), 94remind (v) ,94repair (v), 94respectful (adj), 110responsible (adj), 110rest (v), 94restaurant (n), 47return (\/), 95rice (n), 80r i ch (ad j ) , 110r i de ( v ) , 7 ,70 ,95nolng (n ) , , / t )right (adj), 110ring (n), 78r ipe (adj ) , 110rise (r,), 95risky (adj), 110river (n), 64road (n), 102roast (v), 80rock climbing (n), Z0roller skates (n), 71room (n) ,60root (n), 67rose (n), 67rough (ad j ) , 110round (adj ) , 110roundabout (n),72rucksack (n), 40rude (ad j ) , 110rug (n), 43run ( v ) , 21 ,34 ,70 ,95runnrng (n), 70rusty (adj ) ,110

sack (n ) ,117sad (adj), 72,110saddle (n) ,177sail (v), 70, 95sail ing (n), 70sandal (n), 77

sandwich (n) ,79sauce (n), 80saucepan (n), 32, 63saucer/ (n) ,32,63sausage (n), 80save (v), 95saw (n ) ,63scar f (n) , /6scenes (n), 25, 3lschool (n), 73scissors (n) ,63scooter (n), 71screwdriver (n), 63seaman (n), 59search (v), 95seasitle (n), 64second floor - US (n), 60seeo (n) , b , /serze (r'), 95self-service (n), 42selfish (adj), 110sell (v), 95semi-detached (adi), 60send (v), 95ser ious (adj ) ,110serve (v), 95settee (n), 62shake (v), 33, 95shal low (adj ) , 110share (v), 95shark (n) , 66,103sha rp (ad j ) , 110shave (v), 95sheep (n) , 30,66,102sheet (n), 62ship (n) ,71shi r t (n) , 77,117shoe (n),32,77shop (n) ,70shop assistant (n), 46, 59shopping (go) (v), 46, 70short (adj ) ,55,110shorts (n), ZZshoulders (n), 75shout (v), 95show (v) ,95shower (n, v), 43,62shut (v), 95shy (ad j ) , 1 i 1s i c k ( a d j ) , 1 1 1sick - US (adj), 108signal (traffic) (n), 72s i l l y ( ad j ) , 111simi lar (adj ) , 111sing (v) ,34,70,95singing (n) ,20sink (n), 62sister (n), 57sit (v), 38, 39, 47 , 95si t t ing room (n) ,45,60skate (v), 96ski (v), 70ski ing (n) ,70ski l fu l (adj ) , 111skirt (n), 78sleep (v), 39, 96sleepy (adj ) ,111sleeve (n) , 117slide (v), 96slip (v), 96

741

slipper (n), 78slorv (adj), 111sly (adj ) , 17smal l (adj ) , 1 i1smell (v), 96smile (v), 96smooth (adj ) , 111snake (n), 66snorkel (v), 70snorkell ing (n), 70snowing (n), 83snowy (adj ) , 111soccer ball - US (n), 69soccer player - US (n), 58soccer stadium - US (n), 73socket (n), 62socks (n), 79, 103,sofa (n), 45soldier (n), 59sore (adj ) , 76,711sorted (partic),99soup (n),.80spade (n ) ,117spaghetti (n), B0spanner (n), 63sparkle (v), 34speak (v), 96special effect (n), 33-3,1speed (n) ,34spil l (v), 96splash (v), 96spoon (n), 63sprain (n), 76spring (n), 83squash (n), 70stamp collecting (n), 68stand (v) ,96star (n), 83start (v), 96stay (v), 96steal (r '), 96steam (n) ,33s t i ck (n ) ,117stickpeople 6), 4-7sting (v), 96stir (v), 96stclmach (n),75stomachache (n), 76stool (n), 62stooped (adj), 55storm (n), 83stormv (ad j ) , 111stove - US (n) , 32,43,61stra ight (adj ) ,55, 111strawberry (n), 82s t ree t (n ) ,31 ,37 ,72street c leaner (n) ,59stretcher (n), 76str ic t (adj ) ,111stroke (v), 96strong (adj ) ,55, 111study (v), 96suit (n), 79suitcase (n), 45, ,18summer (n), 83sun (n), 83, 102sunbathe (v), ,10, 7t)sunbath ing (n) ,70sunburn (n), 76sunglasses (n), 78

sunny (ad j ) , 83 , I l1supermarket (n), 46support (r ' ) , 96surpr ise (n ) , 11surpr ised (ad j ) ,12suspicious (ad;), 17srvan (n), 66sr,r.eater - US 6),77sr'veep (r'), 96srveet (n), 79swim ( r . ) ,70srv imming (n ) ,70srvimming costume (n), 78s'"vimming pool (n),73swimming trunks (n),78

sr'vimsuit - U5 (n), 7usn ing (n), 32, 38su' i tch (n), 62, 99srvorcl (n), 117

t-shirt (n), 78table (n), 62table tennls (n), 70tablecloth (n), 62tablets (n), 76take (r ') , 97taken (part ic), 99talk (r,) , 97ta l l (ad j ) ,55 , 111tame (ady) , 111t a p ( n ) , 1 1 7tart (n), 7916s1s ( r ' ) ,97taxi (n), 71t e a 6 ) , 7 4 , 7 9teacher (n), 51, 59teapot (n), 32, 63te lephone (n ) , 51 , 62 ,74 ,97telephone booth (n), 49teler. isicrn (n), 32, 45, 62,70te l l ( r ' ) ,97temperature (n),76tennis (n), 70t e n s e ( a d j ) , 1 1 1tenses , 100 - 101tent (n), 60ter race (n ) ,39terraced (adj), 6t)thank (v ) ,97theatre (n), 70th ick (ad j ) ,111th igh (n ) ,75thin (adi), 55,172thin-faced (acl j) , 55think (r,) , 97t h i r s t v ( a d j ) , 1 1 2thoughtful {adj), 17, 112three (adj), 103throat (n), 76t h r r r r r o h ( n r e n ) R 6

t lrron (v), 6, 69,97throwing (n) ,69thr,rmb (n),75thunderstorm (n) ,83tte (v) , 97 , 103, 117tiger (n), 66tights (n), 78t1 l l (n) ,46,47t i ny (ad j ) , 112to (prep), 85

toe (n) ,75toilet (n), 60, 62tomato (n) ,81tongue (n) ,75tool (n), 63tooth (n) ,75toothache (n), 76toothbrush/paste (n) , 117torch (n), 63tortoise (n), 66touch (v), 97tour (r,), 70tour ing (n) ,70tor,r'ards (prep), B5towel (n) , 117town (n),64, 73tractor (n), 117traffic l ights/signals (n), 72trailer - US (n), 60train (n), 42, 71transistor radio (n), 32travel (n), 71-72travel agent (n), 48trav (n), 47treasure (n), 103tree (n), 38trolley (n), 46trousers (n), 78truck - US (n), 77trunk (n), 67trv (v), 97tu l ip (n) ,67turn (r'), 97, 99turn ip (n) ,81turtle (n), 66type (r'), 59typewriter (n), 59tvpist (n), 59tyre (n) , 117

umbrella (n), 83uncle (n), 57unconscious (adj), 112under (prep), 86r r n r J o r o r , r r r n , - l ( r r ) 7 l

underwear (n), 78unemploved (adj), 59

" n h ; n n - , i r , l i \ 1 1 )

unicycie (n), 71untidv (adj), 112unrv i l l i ng (ad j ) , 112up (prep), 85, 90, 96usc . fu l (ac l j ) , 112

vacuum clearrer (n), 63val ler ' (n), '10, 6' lv a n ( n ) , 7 1 , 1 7 7vase (n ) , 117vegetable (n), 81verbs, 87-98vest - US (n), 78v ideo (n ) , 70 ,103vi l lage (n), 64violent Gdj),112v io l in (n ) , 117visit (v), 97vo lcano (n ) , 117vowels, 102

wagon (n ) ,71

S:>

L-

1\-

=:

L=.

L _

L-

\_=:

\-

\:

>-

=-

D*-_

l.-:

> -

D-*

b-

=:

!-

=:

!-

_r:

L-_

b-

:-

=-

::

:-

L

-

:

142

\,\'aist (n), 75\vatstcoat (n), 78\ \ .a i t (v ) , 47 ,50 ,97rvatter (n), ,17, 59rvait ing (n), 72r.r.aitirrg room (n), 50rvalk (r ' ) , 70, 97u'alking (n), 70rvardrobe (n), 62n'ash (r.), 43, 98rvashing n"rachine (n), 62rva tch (y ) , 69 ,98 (n ) ,117water (n), 61, 29lvater ski ing (n), 70rt,ater-ski (r ' ) ,70lvatercress (n),81n'ave (r ') , 9f ln'avv (adj), 55W C ( n ) , 6 2rveak (adj), 55,112wealthy (adj), 112tvear (v), 98

n'eather (n), 83r,r.'elfare (n), 7S-76r v e t ( a d i ) , 8 3 , 9 0 , 1 1 2u,'hale (n),66n' icked (adj), 112n ide (ad j ) , 112n ' i ld (ad j ) , 112win ( r ' ) ,98rv inc lmi l l (n ) ,117r,r ' indon'(n), 34n. indv (ad j ) ,83n'rne (n),79u' ing (n), 103\,r'lnter (n), 83rvipe (v), 98r,r'ise (acij), 1 12r,r'ish (r'), 98n' i tch (n), 103n i th (prep), 85n.i thout (prep), g5n 'oo l len (ad j ) , l l 2lr,ork (v), 98

n,orrv (r.), 98u.ounded (part ic), 76n'rap (r'), 98r,r'rench - US (n), 63vr.rist (n), 25w n t e ( v ) , 6 9 , 7 4 , 9 Er,r.nter (n), 59i,r.riting (n), 69ivrong (adj), i 12

vacht (n), 103yan,n (r.), 96)'oga (n), 70voga teacher (n),59vourrg (adj), 55,56, 112

zebra (n), 103z t p \ n ) , 1 1 7zrpper - US (n) , 117zucchini - US (n), g1

Pearson Education LimitedEdinburgh Gate, Harlow,Essex CM20 2jE, Englandand Associated Companies throughout the world.

www.longman.com

O Andrew Wright 1984

This edition published by Addison Wesley Longman Ltd 1996

ISBN 0-17-556878-2Eleventh impression 2004

Al1 Rights Reserved' This publication is protected in the United KingdomP:_,1:S"oflghr Act-i.e88 and in the.tt'*;;;;.,es oy comparabtelegrslation. No part of it may be reproduced or recorded bV #v *"un,without the permission of, the prbiisher. Th,;-p;;h;;;i.r*.r.,iai ?Tiii,certain very limited *..^q:1"-^:lto photocopyrng and ,i_ii", pr*Jrr"r,

""awrltten permission to make a copy or copies-mu-st therefore b; obtaine;'from the publisher in advance. Ii L adviJabieio consult the pubrisher ifthere is any doubt regarding the legality of ar_,y proposed copying.

Printed in ChinaNPCC/11

4 1000+ pictures - ningapi.ning.com/.../1000pictures_all.pdf · 2017-05-26 · that are impossible...

Documents